The following courses are examples that have been or are currently being offered at the institutions listed. All course descriptions used with permission. Links to syllabi are listed at the request of the instructor. For privacy reasons, emails of instructors are not listed except at their request. For further information about any of these courses, please contact Kathryn Evans, email@example.com
Institutions are listed in alphabetical order within each country.
The University of New South Wales, UK http://experimentalart.unsw.wikispaces.net/
SART6101 Experimental Arts Course: For students who are interested in innovation, creativity and ideas development. Students in a wide variety of degrees dealing with creativity in art, design and media will benefit from this course through exposure to new trans-disciplinary methodologies and creative opportunities.
The University of Western Australia http://www.symbiotica.uwa.edu.au/
VISA2214 Aesthetic Crossovers of Art and Science A practical and theoretical investigation, through critical engagement of the nexus and differences of the art and science cultures through the use of the technologies of life science/biotechnology as an art-form. This unit is a practical and theoretical investigation, through critical engagement, of the links and differences between art and science by the use of the technologies of life sciences and biotechnology as an art-form. Students learn to understand, through the use of the technologies of the life sciences, ways for exploring practically and theoretically the methods and ideas concerned with the crossovers between the fields/cultures of art and science (particularly the life sciences).
VISA2249 Art and Life Manipulation . An introduction to biological lab practices and techniques dealing with the manipulation of living biological systems within the context of contemporary arts practices. This unit introduces the basic practical and theoretical working methodologies for the construction of works of art that include living elements. Topics include basic methods of tissue engineering, tissue culture, DNA isolation, breeding principles, and genetic engineering. The ethical and aesthetic issues of bio-art are also discussed.
ANHB8510 & ANHB8518 Advanced Aesthetic Crossovers of Art and Science Part 1 and 2 Students understand the social, ethical, aesthetical and conceptual aspects and limits of the use of the technologies of the life sciences in exploring art and science crossovers, and various examples of its application by national and international artists/scientists/communicators. Students learn to understand, through the use of the technologies of the life sciences, how to explore practically and theoretically the methods and ideas concerned with the crossovers between the fields/cultures of art and science (particularly the life sciences).
ANHB8511 & ANHB8519 Advanced Art and Life Manipulation Part 1 and 2 Students develop an understanding of the core issues of biological art; learn some practical methods for manipulating different levels of life for aesthetic ends; and learn the theoretical and ethical aspects of such practices. The unit introduces the basic practical and theoretical working methodologies for the construction of works of art that include living elements. Topics include basic methods of tissue engineering, tissue culture,DNAisolation, breeding principles and genetic engineering. The ethical and aesthetic issues of biological art are also discussed.
Federal University of Rio de Janeiro http://www.ufrj.br/
Brain, Sciences and Subjects: Notes to a Neuroepistemmology I emphasizes and deepens the neurobiological roots of cell excitability, circuit integration and biological coding of information in the brain, while, through conceptual migration, exercises epistemological, cognitive and inspirational speculative insights recognized in imaginative and/or creative behavior common in artistic paradigms.
From Arts to the Brain: Notes to a Neuroepistoemology II takes contemporaneous arts as potential sources torecognition and speculative insights on brain information processing and systemic behavior.Special emphasis to human perception as depicted from a cognitive-emotional-affectiveintegrative neurobiological basis, and possible/plausible implications to aesthetics appreciation.
OCAD University, Toronto, Canada http://www.ocadu.ca/
SCTM 2B03: Astronomy An Exploration of Scales & Structures in our Universe: This course will explore the science of Astronomy, from the perspective of scale and structure: how from the microscopic scales of atoms, molecules and light we have come to understand the macroscopic scales of stars, nebulae, galaxies and the large scale structure of the Universe.
SCTM 2B90 Topics in the Science of Colour: This course will take a cross-disciplinary approach in examining colour, with the aim of understanding colour and colour phenomena from the multiple viewpoints of art, physics, chemistry, physiology and history. Particular emphasis will be placed on exploring the inter-related nature of science and art.
SCTM 2B95: Modern Physics: The course will examine such topics in modern physics as cosmology, relativity and quantum mechanics, along with their historical contexts. Particular emphasis will be placed on the role of visualization in science, and inter-relations between science and art.
University of Manitoba, Winnipeg http://umanitoba.ca/
Beyond the Desert of the Real: Regenerative Narratives in the Cityscape: Students will explore an area of Winnipeg of their choice, creating a visual narrative around it. They will experiment with different narrative forms and structures as a means to this end. Their work will be included in a larger, hybrid urban mapping project.
éCartographies:.material,.image,.and.the.urban.map: This course is an exploration of the experiential or phenomenological dimension of city as revealed by the subjective viewpoint of cinema and other narratives. It aims to do this through an installation at RAW: Gallery. Together we will create a map of the city of Winnipeg which is also a screen for the display of subjective viewpoints on the city: viewpoints articulated in narratives by other students in earlier seminars, and narratives submitted to RAW by the general public.
time and the city: the moving eye and urban space: Students in the seminar will produce videos exploring a fragment of city. The focus will be on modes of movement of the camera/eye through specific and real urban space(s) in time, at specific times. Students will chose their own sites and times, but each film will be bounded by the following limitations: it must have a duration of exactly 60 seconds; it must be set at a specific time in the cycle of the day, on the hour (though the footage can be shot over several days, or even weeks). We will try to understand our work in (without limiting it by) the context of the shared modern history of film and architecture, from the earliest city films to the contemporary shift from film to video to ubiquitous media.
time and the city: take 2: The technology taught in this seminar is digital editing software. The intention is to introduce technical skills supporting critical use of the moving image in the design studio. Students may also find that techniques acquired in this class dovetail with architectural imaging programs (modeling and animation); some students from past seminars have gone on to apply these skills to filmmaking per se. Acquired skills will be applied to the creation of short videos exploring urban sites. These videos will complete a project begun last semester, a set of videos for a Dutch project documenting cities around the world: www.cityoneminutes.org.We will also try to understand our work in (without limiting it by) the context of the shared modern history of film and architecture, from the earliest city films to the contemporary shift from film to video to ubiquitous media. To this end we will look at Dziga Vertov’s cinematic work and the principles behind it, and current writing which relates it to contemporary media.
PHYS 1830 Perspective on the Universe: Cosmic Sights
This general interest course is a qualitative course on the concepts and discoveries in astronomy. The topic this year is “Cosmic Sights” and we will use astronomy images as a starting point for exploring astronomical objects and physical phenomena, such as light and gravity. The course provides a qualitative astronomy background ranging from planets and stars to galaxies and cosmology. A few special sessions at Glenlea Observatory and the Lockhart Planetarium introduce the student to scientific method. Although simple arithmetic and trigonometry will be used occasionally, this is a descriptive course. The course includes a hands-on image making workshop which incorporates techniques of composition and colour theory.
University of Windsor, Canada http://www.uwindsor.ca/ 01-27-386
BioArt: Contemporary Art and the Life Sciences An innovative course that will allow for non-specialist students to engage theoretically and practically in the biological sciences towards fostering a critical participatory engagement with the biological sciences from a fine art perspective. This course is a visual art and science crossover lab intended for students from various disciplines to foster interdisciplinary exploration of the intersections between art and life through hands-on laboratory protocols, critical readings, and the production of contemporary artwork.
Copenhagen University, Copenhagen http://www.ku.dk/
System- and Behavioral Research
This seminar focuses primarily on the predecessors of today’s so-called ‘Lab-art’ were the ‘systemic’ and ‘free’ or ‘aleatoric’ approach are discussed as well. In the ‘laboratory art’ of the nineties we have seen a looming imbalance between ‘art’ and ‘laboratory’ and especially the dwindling respect for ‘life’ in its comprehensive ‘eco-systemic’ sense: The foundations of their artistic predecessors and their relatives are used in order to re-evaluate also the current theory and practice not least in order to close a part of the huge media art historical gap between the beginnings in the sixties and the nineties. The media artists have turned their interest since the sixties to the systems theories, including the study of physical, biological and anthropological systems. The artistic exploration of system models and behavioral patterns extends itself from the constructions of reality on the communication- and biological- as well as technological systems, including the A-Intelligence-and A-life areas. It tests also other system models that will be explored in a fine tuning, which can focus our experience and understanding further on to the game concepts and learning processes, to data acquisition and control up to the telecommunications.
The introductory survey course is designed as a transdisciplinary insight into the topics of mirror, understood as a medium of art and visual culture. The initial emphases are on the use of methods, recommended literature, and training in topological, chronological and causal orientation, independent questioning and discussion as well as other basic procedures. The course will orient to the wide range of the mirror-usage as a motif and a metaphor in the Western Art of the Early Modern period. It will discuss the development of academic conventions of representation in the context of the diversification and canonising of genres of painting, with reference to the most prominent examples from the Art History. Since the nineteenth century, the representation of mirrors in painting has been seen in an altogether new aesthetic and cultural perspective. Entering by and by into the ambit of optical-catoptrical, mechanical and chemical as well as electronic appliances for the recording, transmission and storage of light and acoustic signals, the analogue medium of the mirror passed through further paradigmatic metamorphoses which visual art and culture, too, obviously have found highly significant. To trace and reflect these modern and after-modern metamorphoses belongs to the major goals of the course. Among others, the goals of the course (straight lecture) is to provide the methodological skills and contents for recognizing the expansion of the techniques and concepts of artistic and scientific insight into spectrums of both light and mirrors, by introducing of the examples of ‘mirror art’ and ‘mirror architecture’, of cinema and of performance art and not least to orient students in the wide range of the possibilities of specific new media (like video) with their inherent function as electronic Mirror-systems and with the aspects of their using as an art- as well as an art-historical tools.
The Biosemiotic approach in Art, Sciences and Humanities
Contemporary Biosemiotics, which crawled out of its cradle not least inCopenhagento become a widely respected factor in contemporary thought, serves as a point of departure for a course in which the potentials of the Peircean Triadic Semiosis-Process for conceptualizing the required relationship of the scientific approach and humanistic approach are discussed. A third and mediating bio-anthropological position, as presented in the work of major representatives of Biosemiotics and Cybersemiotics, will be discussed especially in the context of the fundamental relationship between the interpreter (Thirdness), the object (Secondness), and the sign (Firstness) – a relationship so crucial for the interpretative sciences like Art History, Archeology, or Visual Culture-Studies, biologists have found the fruitful way to project these epistemological and ontological claims onto the life-process itself. From this perspective, the vitalistic concept of an observer on one side and the calculatory concept of measurement – both of them seen as epistemic concepts – meet in the concept of the interpreter, while the vitalistic sphere of the Logos and the emergence-sphere of Bios is to be discussed within the context of what Jesper Hoffmeyer calls the Semiosphere – the sphere in which an emergentist view of life is not yet given up by introducing the concept of the semiotic emergence. The meditational role role of Humanities between the fields of religion and natural sciences will be discussed in this context as well.
Bio-Art and Bio-Media. Prolegomena to the History of Bio Art
A straight lecture provides an introduction to the interferences between the Art- and Life Sciences, Nature- and Technosciences, followed by the subjects of laboratory-art, media-garden-art, ars chimaera, artificial life art, ars (trans-)genetic, and the Ars Electronica- historical approaches, especially from 1993 and 2009.
Culture Techniques and Techno Cultures
This seminar focuses on cultural techniques and techno sciences in the context of the scientific evolution towards increasing complexity. The focus lies in not-mutual playing off of the ‘self-referential life’ against ‘hetero-referential technique’. A sketchy retro perspective of the research related to the cultural techniques image, script, number and reflectiveness in the context of the emerging techno-cultures and techno-sciences will be given. Discussed will be the ways how the systems discourses and the ethology as well as mirror-discourses and the etiology have deeply transformed both the self-understanding and the strategies of the humanities and the natural sciences over the past decades. In particular, the course shall zoom in a ‘micro human’ research perspective and the relationship between the bacteria, art and life (-sciences) by offering an interdisciplinary view not least to the questions of the cultural heritage and historical discourse.
Aix-Marseille Universite, Aix-en-Provence and Marseille, France http://www.univ-amu.fr/
Nature & Culture: The purpose of this course is to put the classical Nature/Culture opposition into perspective, by the way of two complementary approaches that should encourage the students to develop an “ecological responsibility” and to go beyond the somewhat simplistic or scientist vision of this opposition. The two approaches draw on biology, sociology, prehistory; and cultural anthropology and ethnology.
Logic, Language, Calculation: This course puts forward the first codifications of the correct reasoning laws, which belong specifically to the domain of logic. Logic is by its essence an interdisciplinary subject, made up of mathematics and philosophy. Logic meets semiology and grammar in computer programming and in the cognitive sciences.
Systems of the World: This course follows three main lines that were historically intertwined in a recurrent manner to give a systematic explanation of the world. They rely on cosmogony, cosmology, astronomy, theology and literature. The contemporary idea of the Cosmos is explained following the well specified central theme of mechanics.
Figures of Power: The purpose of this course is to analyze how social actors (individuals, institutions, nations) elaborate and formalize knowledge to strengthen and justify relations of dominationFrom a methodological point of view, we focus on a critical and pragmatic approach to the history of science and technology. This course examines most of the aspects that highlight the complex relationship between the production of knowledge and the exercise of power: the social gender relations, the physical and social constraints exerted on the human body, the constitution of scientific disciplines, the organization and control of territories, the identification procedures for individuals, and finally the birth and development of the information networks, including the Internet.
Optics, Vision, Colors: The history of the relationship between these three concepts shows that they have experienced amazing changes that will be analyzed during this course from an historical perspective. It relies on various concepts notions that come from physical optics, chemistry, philosophy, cognitive science (psychophysics, psychophysiology and psychology: theories of perception and neurosciences), and art theory. It articulates notions of optics and perception (biology, neurosciences, psychology) together with aesthetic data on perspective and color.
Leuphana Universitat Luneburg, Germany http://www.leuphana.de/
The Cultures of Nanotechnologies and (Un) Sustainability: This seminar with focus on project-work for a future art exhibition. Some basic notions of ‘systems thinking’ as a cornerstone for a cultural shift towards sustainability will be introduced with help of the highly effective experiential practice of playing ‘systems thinking games’. The issue of the social responsibility of the artist will also be introduced. The third element to be surveyed will be the nanotechnologies as a new social, cultural and ethical question.
Introduction to Culture and Economy: This seminar will deal with the standard findings of the Economics of the arts, and with some major issues in the Political Economy of the arts; introduce an alternative way to study and practice Cultural Economics, i.e. an economics that incorporates institutional economics and cultural processes in the way it analyses the economy of arts and culture; and two hot topics in the political economy of culture: Copyright (and the notion of intellectual property) and Globalization (i.e. how a globalizing economy transforms cultural diversity).
Sustainability and Art: This seminar will allow participants to explore the interconnections between Art and Sustainability as social constructions in the contemporary context of so called advanced western societies. While art cannot be merely considered as a straightaway tool for environmental communication, Sustainability cannot be conceived in purely rational terms without an urge for a radical shift in identities. We will explore what this Cultural Turn implies and why our current Culture is fundamentally one of Unsustainability.
Environmental Art, Intervention Art and Others: Towards Sustainability Art? The seminar aims to give an introductory overview of some current movements in the arts that may be shaping a new order in the art worlds, maybe heading towards ‘Sustainability Art’. The Seminar will point both at concrete realization at the regional level and international level and focus on developments in the art worlds such as Environmental/Ecological Art, Intervention Art Forum Theatre and other socially engaged theatre forms, alternative media art/activism.
Art and Social Change: The seminar will introduce the students to the question of art’s ambitions and realizations with regards to social change. The seminar will approach not only the restricted field of ‘art’ (i.e. based in visual arts) but also the performing arts. The seminar will move across the 20th century up to the present, and will look concretely into arts practices in Europe, central Asia and the Americas. Sustainability through the performing arts? This course will introduce the theme of arts and sustainability at a theoretical level, exploring how the arts in general may contribute to the social search and change process towards sustainability; focus on the performing arts, introducing specific cases of arts practices that may be advancing cultures of sustainability and engage critically both with the discourses of environmentalism and with the art worlds, uncovering how far the performing arts may actually be fostering cultures of unsustainability.
Evolution and Culture: In the first part, basic concepts of evolutionary psychology are discussed. Human behavior, which is traditionally perceived as culturally fashioned, is interpreted on the basis of empirical evidence fro m a Darwinian point of view. Such topics as morality, religion and gender behavior are examined in this context and that of their cross-cultural variance. In a second part, different theories of evolution are discussed, with an eye on their cultural and political implications: ecological approaches (co-evolution and eco-evolution in systems/complexity theories), anthropological explorations (multi-linear evolution) and further perspectives (integral evolution, conscious evolution).
Reykjavik University, Iceland http://en.ru.is/
Geometry and Art Course topics included polygons and tangrams, regular and semi-regular tilings, polyoninoes and reptiles, Escher tiles, Hyperbolic and elliptic geometry, Rosette and Frieze groups, visualizations, the Golden Ratio, fractals and Mandelbrot sets.
University of Rome, Italy www.mat.uniroma1.it
Space and Form: An interdisciplinary course for the 5th year of students of Mathematics and of Industrial Design This interdisciplinary course gives details on how the idea of Space has been changing over the last 150 years and how the new ideas on Space had a large influence on our culture: visual arts, literature, architecture, design, plastic arts, leading to the creation of new forms that are interesting both from the scientific and the artistic point of view.
Seoul National University http://en.snu.ac.kr/
“Art & Engineering Crossover Coursework Preview”
To develop the interdisciplinary courses, many professors from different backgrounds collaborated from the departments of architecture, naval architecture and ocean engineering, communication, liberal education, oriental painting, sculpture, design, Korean music department, and music composition. SNU College of Engineering, whose goal is nurturing creative global leaders, has put effort in interdisciplinary education helping students nurture their creativity and sociality. The newly developed courses are based on the goal SNU College of Engineering has. Chancellor of College of Engineering, Professor Lee Woo Il said, “It will help nurturing talent with creativity and gift in art at the same time who can lead creative society in 21st century.” Courses such as “Creation and design”, “Performance art production workshop”, and “Virtual museum exhibition planning” are planned. (This program has not yet been implemented.)
University of Leiden, Netherlands http://www.leiden.edu/
Art & Life Sciences: This course examines the interactions between life sciences and art. From the onset of medical researches in history, the cultural worlds of art and science have interacted. More recently, artists have been directly inspired by genetic and biomedical sciences. The science-art relationship has become an exciting and dynamic field where controversial ethical issues, societal consequences of science, and the art of science itself are being addressed.
VivoArts: This course will introduce students to issues and concepts relating to contemporary arts practices dealing with living biological systems (i.e. bioart). Emphasis is placed on developing critical thought, ethical issues and cross-disciplinary experimentation in art (art/science collaborations, art as research). Students will be introduced to biological lab practices and would be expected to get their hands wet. This course will focus on recent advances in the Life Sciences, both in theory and practice. We will focus on molecular biology, tissue culture, genomics, and developmental biology. We will also discuss the social and ethical implications of these new potentials. We will read about and discuss cultural issues such as gene patenting, population diversity, new reproductive technologies, nature/culture boundaries and more. In particular, the ethics of living art and science production will be debated.
Bioart: This course was designed to enable students to begin to develop a practical and theoretical understanding of art/science collaboration. The course comprised of seminars and group tutorials. We looked at various models for collaboration; discussed of philosophy of science and how this might impact on artwork; considered some of the ethical implications of working with science; looked at art as a means of developing public understanding of science; looked at the work of artists working with science and consideedr the practical issues such as health and safety and funding.
Modern & Contemporary Art & Design – Art, Design, Science and Ethics: In this seminar, we will examine interactions between art, design, the biological sciences and ethics. There is a growing number of international artists and designers that explore the possibilities of the biological sciences to work with new materials, that is, living materials that traditionally do not belong to the artistic realm. The use of these living materials in artistic and design practice also implies the application of the tools and technologies of the biological sciences in the arts. With references to and the use of biomaterials â€“ tissue, DNA, cells, â€“ in works of art and design, artists and designers have taken on board the discourses and practices in the scientific lab as well.
Lomonosov Moscow State University, Russia http://www.msu.ru/en/
Symmetry: The aim of the course is to present the role of interdisciplinary connections among different scientific disciplines, as well as arts, and technological applications, and to present also their roles in scientific thinking, in shaping a holistic world view. In the course of the lectures, symmetry is a working concept that assists us to go through the creative application of interdisciplinary approach in the history of scientific thought. http://hps.elte.hu/courses/darvas.htm#English
Faculty of Information Technology, Belgrade http://www.fit.edu.rs/
Visual Mathematics in Education: This course introduces students of graphical design to different areas of visual mathematics: symmetry in art and science, isometric symmetry groups, similarity symmetry, modularity, antisymmetry, colored symmetry, theory of proportions, theory of visual perception, perspective, anamorphoses, visual illusions, ethnomathematics, graph theory, and elements of knot theory. The output of the course is illustrated by representative original student works.
Singapore University http://www.nus.edu.sg/
Mathematics of Art and Architecture The goal of the course is to study connections between mathematics and art and architecture. You will see how mathematics is not just about formulas and logic, but about patterns, symmetry, structure, shape and beauty. We will study topics like tilings, polyhedra and perspective.. The Platonic solids and polyhedra have inspired people throughout the ages. The golden ratio has fascinated many people, but we will take a critical look at whether it was really used in art and architecture. Symmetry and patterns are important in ornamental art in all cultures. Among the most famous are the Islamic patterns at Alhambra. Perspective originated in the Renaissance and changed the way we look at the world. Many artworks are rich in mathematical structure. We will look at the works of Escher and Holbein. Some of the applications of mathematics in architecture that we will look at are the Parthenon and military engineering. Other beautiful applications of geometry are kaleidoscopes, mazes and labyrinths, the fourth dimension and optical illusions. We finish by looking at applications of mathematics in music.
Koç University, Istanbul http://www.ku.edu.tr
ASIU 104-Art and Innovation offered by Media and Visual Arts
Interdisciplinary study of connections between art/design and politics, science, psychology, literature, music. Creative thinking activities. Innovative design studio. Role of images in propaganda, advertising. Impact of masterpieces in society. Visual perception, gestalt, color theory, drawing as a way of thinking, form and function, poetics of space, collaboration, artistic research. Fluxus, public art, information arts, kinetic sculpture, environmental art.
University College London Center for Digital Humanities http://www.ucl.ac.uk/dh/
MA/MSc in Digital Humanities offers the following courses:
Core Module 1: Digital Resources in the Humanities Introducing a range of issues involved in the design, creation, management and use of digital resources in the humanities.
Core Module 2: Internet Technologies Exploring the basic concepts of markup (including Extensible Hypertext Markup Language, XHTML), website structuring and design, and issues involved in generating and delivering online content.
Core Module 3: Introduction to Programming and Database Querying Providing an introduction to the key concepts and principles of standard procedural computer programming and a brief introduction to relational database querying and manipulation.
Core Module 4: Server Programming and Structured Data Covering approaches to creating database driven websites, with a focus on applications relating to maps and spatial data.
Core Module 5: XML Providing an overview of Extensible Markup language; giving students the opportunity to practice XML markup techniques, processing with XSLT, and demonstrating the use of XML in publishing.
University of the Arts London, Central Saint Martens http://www.csm.arts.ac.uk/
Unit 1 – Art and Science in Context: This unit explores relationships between art and science, both contemporary and historical, and related critical issues. You’ll develop your understanding through a series of projects that investigate topics such as Visualizations: Technology and the Extension of the Eye; Mathematics: Surface and Space; The Body: Anatomy, Biomedicine, Identity; Material and Process: Studio Chemistry.
Unit 2 – Thinking as Practice (Research Methodologies 1): Unit 2 introduces the fundamental research skills that enable you to make informed decisions about appropriate methods to use in your chosen area of study and your professional future. The unit examines specific research skills and different kinds of research. Skills and knowledge areas covered include interviewing, literature search and review, archival skills, software for use in research and e-resources, feasibility studies, data analysis, referencing, citation and bibliographic conventions, and ethics. Seminars and workshops emphasize participation and the building of core research skills through practical exercises and small group projects.
Various locations, United Kingdom http://www.normalflora.co.uk/
Art and Science Collaborative Practice: This course will enable students to begin to develop a practical and theoretical understanding of art/science collaboration. The course will comprise of seminars, group tutorials and a lab visit. We will look at various models for collaboration; discuss of philosophy of science and how this might impact on artwork; consider some of the ethical implications of working with science; look at art as a means of developing public understanding of science.
Arkansas StateUniversity http://www.astate.edu/
The Marriage of Art and Geometry This course for high school teachers of geometry and art illustrated the content connections of geometry to art.
Austin Community College, Austin, TX http://www.austincc.edu/
The Mathematics of Music Mathematics is involved in some way in every field of study known to mankind. In fact, it could be argued that mathematics is involved in some way in everything that exists everywhere, or even everything that is imagined to exist in any conceivable reality. Any possible or imagined situation that has any relationship whatsoever to space, time, or thought would also involve mathematics. Music is a field of study that has an obvious relationship to mathematics. Music is, to many people, a nonverbal form of communication, that reaches past the human intellect directly into the soul. However, music is not really created by mankind, but only discovered, manipulated and reorganized by mankind. In reality, music is first and foremost a phenomena of nature, a result of the principles of physics and mathematics.
The Two Sides of Music Music is a phenomena that is experienced differently by different people. Each person who hears music is influenced by his or her own individual personality, knowledge, and life experiences. The human brain processes the experience of hearing music in two different ways; the process involved is different for musicians and non-musicians. If a professional musician wishes to create music that the non-musician majority will comprehend, enjoy and pay money to hear, the musician must understand this difference of perception between musicians and non-musicians. It is also the responsibility of teachers of music to understand this concept to properly prepare the musicians of the future. First, we will briefly examine the brain and how it works in general; then we will discover how the brain processes the experience of music.
College of the Holy Cross, Worcester. MA http://www.holycross.edu/
Mathematics and Music: Structure and Form This course will explore the dynamic relationship between mathematics and music, investigating the inherent structures common to each discipline. Mathematical concepts and techniques will be utilized to gain a deeper understanding of music. The pertinent mathematical and musical concepts will be developed as the need arises. Musical topics to be considered include basic music theory (notation, rhythm, time signatures, pitch, scales, intervals, circle of ﬁfths, chords,progressions), non-standard tunings and scales, and the overtone series. Mathematical topics to be covered include graphing functions, trigonometry, logarithms, equivalence relations, modular arithmetic, rational and irrational numbers, and continued fractions.
Cornell University, Ithaca, NY http://www.cornell.edu/
Geometry and the Visual World This course uses linear perspective and geometrical optics to motivate geometric models in Euclidean and projective geometry. Topics include the historical development of geometrical optics, linear perspetive and projective geometry from Eculid to Desargues and a hands-on approach to applied geometry, plus a crash couse in analytic projective geometry.
Dartmouth College, Hanover, NH http://dartmouth.edu/
Dartmouth developed a set of MATC (Mathematics Across the Curriculum) courses, partially supported by an NSF grant in 1995. By 1998, the MATC project had benefited over 2,000 students at Dartmouth, directly involved 178 faculty at Dartmouth and collaborating institutions, created 78 modules, books and videos, and sponsored or cosponsored five workshops serving faculty in mathematics, literature, history, philosophy, art, art history, biology, geology, and engineering. While the project has ended, many of the courses are still offered and materials are available at http://www.math.dartmouth.edu/~mqed/eBookshelf/
CL 65/Math 5 A Matter of Time (Math/Literature) Everybody knows about time. Our everyday language bears witness to the centrality of time with scores of words and expressions that refer to it as a measure, a frame of reference, or an ordering factor for our lives, feelings, dreams, and histories. For the Aztecs time was a series of 52-year cycles. At the end of each cycle, the sun would set and for three days and nights the universe was up for grabs before the beginning of a new cycle. The Bible, on the other hand, inscribed another concept of time, linear and chronological in the seven days of creation and the detailed chronicles of endless genealogies. Playing with time has been a favorite game in works of high culture–from the Greek sophists to cubism–and in popular culture–from H.G. Wells to Monty Python. And time is at the center of one of the most revolutionary scientific theories of all time: Einstein’s Theory of Relativity. In this course we will use mathematics, literature, and the arts to travel through history, to explore and understand Time as a key concept and reality in the development of Western culture and in our own twenty-first century view of ourselves and of the world.
Mathematics 5 The World According to Mathematics The aim of The World According to Mathematics is to provide the means to see everyday aspects of the world around us through mathematical eyes. The underlying theme of the course is an examination of the notion of representing reality and the fundamental role in this process played by mathematics throughout the history of Western civilization, right up to the present day. Intended for students whose major interests are outside mathematics and the sciences, the course assumes that students have only a background in high school mathematics. By considering specific examples, we will learn to express in the language of mathematics a substantial number of our everyday experiences. We will see that mathematics, especially through mathematical algorithms, is everywhere, whether it be in ISBN book codes or in the swing of a pendulum.
Math 5: The Mathematics of Music and Sound Music and math have gone hand in hand for thousands of years. Come and explore the myriad mathematical connections underlying the workings of musical instruments, the human voice, hearing, acoustics, sound analysis, musical composition, and more. Sound and music are integral parts of all cultures and are critical to human and animal communications. The production, transmission, and perception of sound is woven through with mathematics. With the goal of expanding both scientific and artistic horizons (and teaching you some ear-opening practical skills) we explore vibration, resonance, waves, musical instruments, the human ear, speech, architectural acoustics, harmony and dissonance, tuning systems, and composition.
Math 5: Pattern: An Interdisciplinary Course in Textile Design and Elementary Group Theory The mathematics and art of repeated designs. This course focuses on the interplay between the art of regularly repeated patterns and the abstract mathematics that results from close study of these patterns. Student work displayed on this page shows some of the artistic results of previous classes, but not the mathematical side (which will only make sense if you take the course).
Math 5: Exploring Mathematics: Geometry in Art and Architecture In this course, we explore the many places where the fields of art and mathematics overlap. We will expose students to a wide range of art, covering a long historical period and a great variety of styles. Topics may include: sculpture in ancient Greece, use of proportion in art, perspective, perspective machines and cameras, golden section, knots, and symmetry, Twentieth-century geometric art, chaos, and fractals. The slide lecture format will be varied by demonstrations, hands-on class projects, guest lecturers, films, videos, computer graphics, and perhaps a field trip.
Math 5: Mathematics and Culture: Renaissance Thought, Imagination and the New Universe This course is to be a look at the intersections of the Copernican controversy and these other controversies, at the way in which the discourse of science both influences, and is influenced by, other discourses. We will delve into the period, reading works of fact and fiction, speculation and imagination, by scientists, mathematicians and others, in a period where distinctions were not so boldly drawn as they are today.
Math 53: Attractive Disorder: Chaos in Literature, Mathematics and Beyond Chaotic dynamical systems are everywhere: weather patterns, swinging pendula, population dynamics, even human heart rhythms. With a balance of theory and applications, this course will introduce: flows, fixed points, bifurcations, Lorenz equations, Lyapunov exponent, one-dimensional maps, period-doubling, Julia sets, fractal dimension. The goal is to introduce you to the recent, exciting, and rapidly-growing area, and to strike a balance between theoretical analysis, concepts, computer-aided exploration, and applications. The impact of nonlinear dynamical systems on science has been far-reaching, including the physical, life and social sciences, engineering, finance and mathematics, and therefore we expect this course to be of interest to all such students with a mathematical background in linear algebra and differential equations.
How Many Angels? Mathematics, Philosophy and the Infinite This is an interdisciplinary writing course, which means you will be expected to write about both mathematics and philosophy.
Mathematics and Science Fiction: The Fire in the Equations We shall challenge the widely-held assumption that readers and writers of science fiction feel more at home with physical than with mathematical sciences. In fact, a substantial body of novels and stories depends on mathematical ideas. Is the portrayal of mathematics in science fiction accurate or confused, legitimate speculation or mere technobabble? Is mathematics simply a way of mystifying, even intimidating readers or can understanding the underlying mathematics truly contribute to the total experience of reading a story? This course will present both the mathematics and the literary concepts necessary for an informed reading of the chosen texts. Although these texts will mostly be works of fiction, we shall also discuss some critical theory, with reference to current debates about post-modern consciousness, cultural politics, narrative structure, and the nature of artistic representation. Among the authors of novels or short stories, Isaac Asimov, Greg Bear, Arthur C. Clarke, Greg Egan, Robert Heinlein, Ursula Le Guin, Larry Niven, Rudy Rucker, and Kim Stanley Robinson; among writers on the theory and practice of science fiction, Samuel Delany, Ursula Le Guin, Joanna Russ, and Darko Suvin.
Math 4/27 Applications of Calculus to Medicine and Biology Have you ever wondered why medical schools require calculus? Or why biology has recently been described as “the most mathematical science”? Math 4 will show how real researchers in medicine and biology use mathematical models to predict change and design strategies for controlling epidemics, administering drugs, managing ecosystems, and other applications. Using basic calculus and a free application, The Big Green Ordinary Differential Equation Machine, you can study a multitude of real situations. We use a text book developed especially for this course, Situated Complexity, by yours truly, available at Wheelock Books.
DePauw University, Greencastle, Indiana http://www.depauw.edu/
HONR 191/192 Research Experience I : Offered to students in the Science Research Fellows program. Students learn the basics of science research–how research is different than that learned in a classroom setting, how science works– which helps to develop the skills necessary for future research experiences. A course offered by Daniel Gurnon, associate professor of chemistry and biochemistry, Jacob K. Stanley, a 2005 DePauw graduate who served as a part-time assistant professor of art, and German sculptor Julian Voss-Andreae resulted in the creation of a series of science-inspired sculptures.
Fashion Institute of Technology, New York, NY http://fitnyc.edu
MA 142 Geometry and the Art of Design A contemporary primer of geometric topics that expand the concepts of shape and space, this course presents some of the established and emerging ways geometry can provide tools and insights for artists and designers. Included are a variety of visual phenomena such as fractals, knots, mazes, symmetry, and the golden ratio.
Franklin and Marshall College, Lancaster, PA http://www.fandm.edu
Mathematics of Art This course requires students to read and write about mathematical concepts embodied in works of art. Students will also do drawing assignments, and study a work of art that uses perspective.
Georgia Institute of Technology, Atlanta, GA www.gatech.edu
CS4803: Computational Improv: This class will explore the use of computers and digital media in a real time improvisational environment. Students will learn the basic concepts of improv and then design software, so that, for example, digital images can interact with live performers on stage during an improv (i.e. non-scripted) show. The hardware and software developed during the class will be used at the end of the semester in a live improv performance with real actors.
LCC 4814, Projects and Practices in Integrated Art and Engineering. The design of the course was motivated by technological traditions in the fine arts, the changing nature of building and innovation, and a sense that by combining practices from the arts and engineering, we could broaden the pool of resources students can draw upon. The goals of the course were to:
• broaden students’ creative abilities by enabling them to consciously leverage skills, processes, and insights from both the arts and engineering in the pursuit of their creative work
• cultivate students’ awareness of creative process and the relationship between process and outcomes
• support students’ creative skills in the service of ideation, design, fabrication, presentation, and project analysis
• teach students hands-on fabrication and prototyping skills, and
• introduce students to working interdisciplinarily.
Lawrence Technological Institute, Southfield, MI http://www.ltu.edu/
MCS1254 Geometry In Art . Diverse geometrical applications of mathematical concepts, linking the symbolic representation to the visual representation. Examples from the arts and architecture; computer applications. Topics covered may include conic sections, perspective, symmetry, tilings, shading of objects, fractals, trigonometry.
LeHigh University, Bethlehem, PA http://www4.lehigh.edu/
Art/Psychology 65: Perception and the Visual Arts
The primary goal of the course was to show how the visual arts can be approached from a perceptual point of view. The course began by suggesting that art is not the object so much as a particular set of inner perceptual, cognitive and emotional processes. The art object is then the stimulus for art. After that introduction, structure and balance in works of art were considered, including some distinctions of style. The remainder of the course considered the perception of light, shape, form, space, color, movement (real and implied)and emotions, illustrating how each has been used by artists from a variety of cultural backgrounds to express their ideas.
Lourdes University, Sylvania, OH http://www.lourdes.edu/
CHM 165 The Chemistry of Art: This course introduces students to the techniques of forensic chemistry, particularly as they relate to crime scene investigation and ongoing analysis of evidence obtained after a crime is committed. The course involves the basic chemistry concepts needed to solve problems in forensic science and illustrates the specialized applications of forensic science through case studies and laboratory methods.
Maryland Institute College of Art, Baltiomore, MD http://www.mica.edu/
AH 340 Pattern in Islamic Art This undergraduate course in Islamic Art History focused on the study of pattern as the intersection of art and mathematics. In order to help students better understand the nature of patterns in Islamic art, students are asked to create practicums comprised of three of the following exercises: an infinitely repeating pattern, a self-contained pattern, an interlaced pattern, a border pattern or an infinitely repeating pattern arbitrarily cut off by borders.
Michigan Technological University, Houghton, MI http://www.mtu.edu/
Wood in the Modern Age The course will focus on wood as a biological material and expose its relationship to art, architecture, engineering and science. It is for both undergraduate and graduate students; class sessions will be in the evening. The course work will culminate with a design project in which the knowledge gained–combined with the unique background of each student–will be applied to a final project. Class instruction will combine lecture, laboratory and studio time, as well as situational learning experiences. This course has an online component – for more information, contact Sara Robinson at firstname.lastname@example.org,
Moravian College, Bethlehem, PA http://www.moravian.edu/
Math 109. Mathematics for Design. Provides mathematical background and techniques useful to aspects of artistic design in the plane and in space. Essential mathematical concepts and tools applied to solve design problems. Topics include ratio and proportion, similarity, geometric constructions with Euclidean tools and dynamic geometry software, properties of polygons and polyhedra, isometries and other geometric transformations in the plane and space, symmetry and periodic designs, projections from space onto a plane.
New Jersey Institute of Technology http://www.njit.edu/
Math 116 Mathematics of Design The course is project oriented, covering theories of proportion; tiling, symmetry, symmetry groups, and informal geometry; fractals; theory of graphs and knots; three-dimensional design and polyhedra. The mathematics is oriented towards carrying out designs rather than a systematic development of mathematical theory.
Oberlin College & Conservatory, Oberlin, OH http://new.oberlin.edu/
Timaraterials: This class focuses on materials and the idea of “in”; i.e. installation, instrumental, environment. invention/installation/intervention- about a personal invention, reacting to local spaces, local materials, and extra credit for pieces that attempt to solve environmental issues in an artful way. Ancient Confucian orchestra had eight primal materials: skin, bamboo, silk, metal, stone, gourd, earth, wood. This class will focus on such kinds of primal materialism, although there can be spiritual/data materialisms. Certain techniques, such as “circuit bending” crossover into performance technology, so we could say that this is about performance outside the concert hall. Documentation skills, signal processing for “situations”, and perhaps a little bit of musical instrument making will be covered.
Paul Smith’s College, Brighton, NY http://www.paulsmiths.edu/
NRS 495 – Integrated Natural Resource Management:
Integrated natural resource management (INRM) can be defined as a comprehensive approach to assessing resource problem or concerns and making recommendations for management of humans and natural environments that meet conservation goals. In this course, students are given a natural resource problem or concern that requires an INRM approach. Students must integrate ecological and social-cultural information relevant to the problem and ultimately develop a management plan designed to meet the conservation goals of a given landscape unit or watershed. Working collaboratively, students will have the opportunity to demonstrate team management, consensus building, planning, and reporting.
San Francisco Art Institute, San Francisco, CA www.sfai.edu
ARTH-503-1 Composing Biology: Artists Working with Life Forms [Graduate Level, Critical Studies]: As scientists explore the workings of life and its reproduction in biological organisms, artists explore the significance of these discoveries for individuals and societies. This course centers on the work of artists who are “sculpting” life forms, appropriating genetic imagery, and embracing or critiquing contemporary genetics, examining the diverse cultural impacts of biotechnology.
CS-220-1- Systems of Investigation: Evolution [Undergraduate Level, Critical Studies]: This seminar will examine the ways theories of evolution interact with cultural understandings of time, change, and humanity’s place in the world. We will survey the history and ideas of evolutionary science, consider the role of images in forming and transmitting these ideas, and investigate the action of evolutionary ideas and images in popular culture.
CS-500-1 Imaging Energy [Graduate Level, Critical Studies]: Energy, as a cultural construct with theoretical, metaphorical, and practical manifestations, is the focus of this seminar. In Western culture, the laws of energy, known in scientific language as thermodynamics, are thought to govern the activity, exchange, and transformation of everything in the known world. Our understandings of this protean force are constituted through physical experience, mathematical analysis, and visualizations of many different kinds. The course considers wide range of cultural images including visual art (film, video, photography, sculpture, and painting), scientific imaging (molecular biology, high-energy physics, and medicine), and popular culture.
CS-500-5 Evolution [Graduate Level, Critical Studies]: Images have played an important role in shaping cultural understanding of “evolution” since it emerged as an integral component of modern thinking in the 19th century. This seminar will examine the ways theories of evolution interact with cultural understandings of time, change, and humanity’s place in the world, in parallel with the images used to communicate these ideas. In addition to considering artists’ contributions to the cultural dialog on evolution, we will touch on scientists’ proposals regarding the evolutionary significance of art, and cover works by creative thinkers ranging from the German writer Johann Wolfgang von Goethe and Modernists such as Piet Mondrian to present-day artists working with evolving artificial life.
CS-500-1 Concepts of Creativity [Graduate Level, Critical Studies]: In contemporary Western culture, “creativity” is generally understood to be an essential component of artistic activity. But what does it mean to be “creative”? Our culture’s operating definition of “creativity” refers to a complex of ideas, assumptions, and values that is historically characteristic of our time, taken for granted, and rarely examined. In this seminar we will view art and films that represent the creative process, cover theories of creativity from artificial intelligence, cognitive science, cultural studies, psychology and sociology, and query their meaning for art practice through individual research projects.
CS-230-1 Systems of Investigation: Animal/Human [Undergraduate Level, Critical Studies]: In this course we will investigate the many metaphoric, philosophical, and practical questions raised by artists and scientists seeking to communicate across species boundaries, understand the aesthetic expressions of other species, use interaction with animals as a metaphor, or contemplate the significance of regarding human communication as a special case of animal communication.
IN-190-2 Topics in Art & Science: From Miracles to Molecules [Undergraduate Level, Interdisciplinary]: In this course, we study the development of “art” and “science” as ways of knowing and crosscurrents between them in contemporary art. In part this inquiry is animated by the sense that we need a new world view, as cultural and climactic conditions are not adequately addressed by the current one. From our historical and cultural position, we can see the tensions and contradictions in earlier ways of knowing the world and begin to imagine how we might become less embedded in our own, opening new possibilities for the future.
SCIE-113-1: Life Studies: Biology and Art [Undergraduate Level, Science]: Structured as an exploration of the different scales of life, from molecules to ecosystems, this course surveys the central concerns of contemporary biology. Co-taught by a biologist and an artist, the course covers the science of life in context with the historical development of biological thought and the use of biological ideas and images by artists. Through lectures, projects, field trips, readings, image-making, and discussion we will study the structures and processes of life, including cellular function, genetics, development, ecology, and evolution.
Deep Time, Vast Space [Graduate and Undergraduate Level, Interdisciplinary Studio and Critical Studies]: This course is a ten-day road trip through Arizona, Utah, Nevada, and New Mexico following interrelated threads of art, culture, and geology, led by an artist with a guest geologist. We will visit the major land art works of the American West, including Lightning Field by Walter DeMaria, Spiral Jetty by Robert Smithson, Sun Tunnels by Nancy Holt, and Double Negative by Michael Heizer; archaeological sites such as Wupatki Pueblo; and geologic features such as the Grand Canyon and Sunset Crater. Course readings and lectures will put these works into art historical/critical, scientific, and socio-political perspectives.
Environmental Art and Philosophy: This course will consider the endangered state of the planet and the development of environmental philosophy and artistic activism. Artists’ work with ecosystems, biosystems, the practices of eco-feminism, and related philosophies will be examined as means to investigate contemporary issues.
San Francisco State University (SFSU), San Francisco, CA www.sfsu.edu
Art 511.01 Art and Emerging Technologies: This course aims to prepare artists and new media professionals to become innovators in the development of emerging technologies. Students will study new developments in biology, body imaging, alternative interfaces (motion, gesture, voice, face, biosensors, etc) materials science, groups, VR, nanotechnology, and other fields.
Stanford University, Stanfrod, CA www.stanford.edu
COM46: The Big Picture: Visual Strategies for Effective Science Communication
In a world of increasingly complex information, visuals can be an effective strategy for communicating your ideas. Images, illustrations, and graphics produce a visceral, immediate connection to information in ways that words and numbers cannot. Like turning on a light, a well-designed visual can illuminate complicated processes, structures, relationships, data, and ideas.
St. Joseph’s University, Philadephia, PA http://www.sju.edu/
Multicultural Mathematics This course aims to strengthen and expand students’ understanding of fundamental mathematics—number systems, arithmetic, geometry, elementary number theory, and mathematical reasoning—through study of the mathematics of world cultures. In addition, the course is designed to explore the connections between mathematics and the arts, to engage students’ imagination and creativity, and to increase the diversity of oﬀerings in the mathematics classroom.
Teachers College, Columbia University, New York, NY http://www.tc.columbia.edu/
New Leaning Model in Art and Deep Ecology: An Interdisciplinary Approach to Teaching Art Rationale
To be able to identify patterns in nature by transliterating ones imagery and writing from an underlying structure describing at least one dynamic in ones primary movements, directions, patterns and repetitions. To translate or encode their relationships of values, cycles, forms and shapes from ones everyday organizational patterns with living systems processes.
University at Buffalo, State University of New York, Buffalo, NY http://www.buffalo.edu/
DMS 608 BOH Critical Ambient Intelligence: Ambient Intelligence (AmI) refers to research and development of electronic environments that are sensitive and responsive to the presence of people. In this seminar we will attempt to map a broad understanding of AmI and to expand the default utilitarian role of information processing technologies.
DMS 610 Critical Collective Intelligence: Groups can know things individuals do not. The ‘knowledge’ contained and formed in groups (of people, animals, plants and sensors) can be difficult to understand. Today, there is substantial interest in finding ways to harvest such new kinds of shared understanding. Results from internet users for example are collected to find common traits and read public sentiment. Sensor network mesh data is mined for signatures of unusual events over time and space.
DMS 604 BOH Large-scale Biosensing: Because of the scale and intensity with which biosensing can be expected to operate in the data saturated future, it is likely to redefine the ‘relationship to technology’. The design of large scale sensing systems requires a combination of technical literacy and design intelligence. The goal of the two semester course series is to assist in the formulation of interdisciplinary instruction methods that will support the next generation of designers, architects, activists and engineers in addressing some of the challenges in this area.
ARCH3041F Information Places: Information is everywhere. Information changes everything, even how we get lost. Most people are more likely to check their GPS-capable mobile phones than the sun in the sky for orientation. More than ever, we experience our world though sensor enabled gadgets. The challenge posed in this seminar is to view information and the art of information processing as a socio-technical design opportunity. We will ask: Can new qualities be harnessed by re-arranging quantitative data sources? How do we have to think about data in order to create new urban qualities in a data driven world? Which sources of inspiration should we turn to? What will it take to generate new qualities from the endless flow of quantitative data? This seminar, in short, attempts to map out a trajectory from information spaces to information places.
DMS 608 Making Sense of Data: Data analysis and data interpretation are fundamental to many data dependent endeavors, such as bioinformatics, speech synthesis and machine vision. Data analysis is an established field of study in the engineering sciences, but has only found marginal application in art practices (of all flavors) until recently. The course will be held in both theory (one credit) and production (3 credits) mode, so students lacking comfort in computer programming can participate. Topics include: fundamentals of applied statistics, basics of language/text processing, genetic algorithms and neural networks and select AI techniques. From these rich but also demanding engineering science fields we will concentrate on aspects that facilitate the interpretation of data.
DMS 544 BOH Synthetic Sensing: Today, many people are more likely to check their GPS-capable mobile phones than the stars in the sky for orientation. More than ever, we experience our world though sensor-enabled gadgets. Sensors replace lost skills, introduce new ones and always remind us of other worlds we have no access to. This course addresses synthetic sensing and data processing in the context of digital media arts. Understanding sensors and their limitations is an important prerequisite to building robust and satisfying information processing artifacts.
DMS 461 BOH Machine Culture: This course traces the history of the machine from the monastery bell to the latest humanoid robot, in select episodes. The course will focus on the intersection of culture and technologies, from coffee grinders and microwave ovens to automobiles, artificial intelligence, mobile phones, autonomous robots, social networking, instant messaging and surveillance systems.
ENT 001 Art, Science and the World of Insects: This course explores the exciting world of insects with a focus on those biological components that make them an evolutionary success and a constant in human technology, culture, architecture, literature, film and religion. Students explore these topics in a richly layered learning environment in which they create and learn with a high degree of self-initiative and collaborative interaction.
SAS 40 Photography: Bridging Art and Science: Beginning with centuries-old experiments in optics and chemistry to the present-day digital revolution, the camera has relied on science for its development while also serving as a vital scientific tool for probing and documenting the natural world. In the hands of the artist, the camera has heightened our awareness of the aesthetic qualities of space and light while revealing hidden truths about culture and society. In this course, students use photography to explore the common ground occupied by art and science. Two lectures each week address such topics as the art/science roots of photography; principles of space, time and light; composition in the visual arts; aesthetics and the geometric foundations of art and science; and photographic interpretation of the environment. One studio session each week builds visual literacy skills through hands-on photography projects.
SAS 42 Earth, Water, Science and Song: People of the twenty-first century are sensing an urgent need to understand the health of soil and the supply of water. Paradoxically there is sometimes an emotional barrier to using science and technology to protect these environmental resources, while music and poetry continue to be used to celebrate the beauty of the natural world. In this course students will fuse the intellectual power of environmental science with the emotional power of the performing arts.
Freshmen Seminar 2: Plants in Art and Science. Exploration of plant defenses, reproduction, diversity, in the context of the history of plant art and artistry. Topics also include benefits of plants to humans, plant form and development. Students read and discussed the Emerald Planet and used their learning to collaborate in creating a textile surface design illustrating the evolution of plants on the planet.
Freshmen Seminar 4: The Face of Darwin: Exploring the Art/Science Borderland Darwin’s theory of evolution by natural selection still stimulates a plethora of research questions and a lively public discourse. Students and community volunteers were immersed in an art/science fusion teaching paradigm as they explored key elements of Darwin’s life and his thinking. Using ceramics as the medium, learning collaboratively and functioning as a team, all the participants, students and community volunteers, took the concepts learned and expressed their ideas in tiles that came together in an image of Darwin’s face. The Face of Darwin is installed in the lobby of Storer Hall on the UC Davis campus.
Freshmen Seminar 7: Water in Science and Song. The seminar theme was consideration of science and music as complementary human endeavors to understand and appreciate the natural world. Lectures presented the cycle resulting in circulation and conservation of earth’s water and addressed important contemporary issues in water management, including flood control and water quality. Lake Spafford on the Davis campus served as a living laboratory for exploration.
Science and Society 098: Connecting Art & Science: Bringing Environmental Concepts To Life with Ceramic Mosaic Murals. This class explored the expression of environmental concepts through ceramic mosaic murals. The concept of communities joining forces to create public art that conveys ideas and information will be developed while the topography, geology, environments, flora, fauna and products of California are researched. Students will learn how to use this knowledge to create a ceramic mosaic illustrating the “riches of California” portrayed on the backdrop of the state map (see California’s Gold). Basic ceramic skills (hand building) and mosaic techniques were taught while the connections between art and science were discussed. California’s Gold is installed in the Canon Building office of Congressman Mike Thompson in Washington D.C
FRS 002 Bees, Art and Survival: This seminar used the art/science learning paradigm to create environmental literacy by illustrating the importance of honey bees to humans, ranging from their role in pollination, as providers of honey, medicines and as the foci of art, myth, literature, film and music. Students read and discussed Letters from the Hive and and visited honey bee hives with bee experts at the UC Davis Harry Laidlaw Honey Bee Research Facility. Students designed, fabricated and installed a major public art project at Honey Bee Haven, a demonstration pollination garden adjacent to the Harry Laidlaw Honey Bee Research Facility on west campus and engaged in community oriented activities surrounding the larger elements of the Honey Bee Haven project, including celebration of the garden. The bench they created is installed permanently in the Honey Bee Haven Garden.
FRS 002: Portraits of the Oak – Exploring the Art/Science Borderland: Students in this seminar explored the English oak, Quercus robur. Oak trees dominate the landscape of California, as well as landscapes worldwide. These mighty trees are critical to the ecological health of the planet, providing shelter and food to insects, animals and micro-organisms, as well as humans. In spite of their tremendous importance in the ecosystem and to the well-being of humans, they are often taken for granted and have been poorly understood. The UC Davis Shields Oak Grove contains the largest collection of mature oaks in the southwestern United States, with 346 trees representing 89 types of oak species, varieties, and hybrids. This outstanding collection of oaks forms a living museum and provides a tremendous opportunity for experiential learning. Students discovered key elements of oak biology, development, uses and importance to planetary health. They expressed our discussions through ceramic tile “portraits” of a Q. robur tree over its lifetime of 800 years. The portraits will be part of an installation on the surface of a 65’ bench in the Shields Oak Grove.
University of Illinois at Springfield, Springfield, OH http://www.uis.edu/
CHE 121 Chemistry of Art – The Materials of the Artist: From cave paintings to digital images, chemistry and art have been closely intertwined. In this course we will examine these relationships throughout history. We will explore the science of color and how the artist uses color in his or her creations. We will also examine the properties of materials including minerals, metals, paper, glass, ceramics, and polymers, and how they are used by the artist.
University of Michigan, Ann Arbor, MI http://www.umich.edu/
ARTDES 24898 Imagining the Genomic Era is a cross-disciplinary course that provides a newly-expanded context for art-making that merges the cultures of art and science and explores the fundamental issues, motivations, methods of inquiry, and audiences of artists and scientists as they employ and/or interpret genetic and reproductive technologies.
University of Nebraska-Lincoln, Lincoln, NE www.unl.edu
CHEM 292H Chemistry in the Movies: This course will explore the intersection of film history, chemical history, and the public perception of science.
Chem191H The Color Red: This course will approach the color red from as many academic perspectives as possible. Thematically, the disciplines have been grouped into three categories: Art & Literature, People & Society, and Science. This was done so that we could discuss similarities and differences between the disciplines. The real goal of the course is to give students a better understanding of various academic disciplines, how they do research, and the relationships between them.
CHEM 898 Chemistry Matters – Chemistry, Society and Popular Culture: This course will share and explore the many ways to ncrease the appreciation of chemistry among both science-interested and non-science-interested students. Our focus will be chemistry as an intellectual enterprise that is deeply embedded in our society. As one example, we will examine classroom-accessible chemical references and imagery from popular culture such as songs and movies. We will also carry out a few low-cost, safe, and effective laboratory exercises. Our goal is to identify matter that will generate enthusiasm for chemical research to help meet the world’s needs, to increase an interest in chemistry among young people, and to generate enthusiasm for the future of chemistry.
University of Northern Colorado, Breeley, CO http://www.unco.edu/
Creativity in the Arts: A survey aiming to compare and exchange ideas between music, art, and literature. Lectures, discussions, visual projects writings, and performances all related to the topic under discussion.
MIND294 Revolutions in Science: A course about the four thousand year history of science, including collective and individual research focused on the understanding of digital media; mastering knowledge of color, texture, gradients, and designing symbolic references along with resource material; preparatory research aimed at gaining knowledge of the construction of the graphics. Analog as a way to construct shapes and patterns based on cultural, or story based themes.
ENST225 Energy and the Environment A course for all science and non-science majors falling under Section 7 of Liberal Arts, co-taught by Physics and Visual Art professors. The course introduces basic principles and laws in physics, scientific methods and instrument used in the exploration of various types of energy including specific renewable energies. The content materials will be introduced at a conceptual and qualitative level, although some algebraic mathematics will be applied. There is no pre-requisite on the science or artistic background. Some multimedia online materials will be incorporated into our study. This course involves visualization of energy related topics through learning materials and assignments to enhance students’ understanding of the concepts and process in energy conversion and also to improve students’ computer graphics skills for science learning.
The Cosmos: Students learn scientific concepts about the Cosmos through producing visual and verbal representations of processes and products with some stress on physical laws. Juxtaposition of drawing and creating stories serves as a way to conduct a research studies.
The University of Texas at Dallas, Richardson, TX www.utdallas.edu
ATEC 6300.501 Interdisciplinary Approaches to Art and Technology: The class will focus on current and historical developments in the arts (and other pertinent fields) and technology. Most important, it will challenge you to “invent the future” through your ability to infer from what is possible to what will become necessary. Our time is one of change. Are you prepared for it? You will be among those who make it happen.
ATEC7390 Special Topics in the Arts, Sciences and Humanities (STASH): This course will address emerging international topics on the new ways that scientists are engaging with the arts and humanities. Topics to be covered are (1) Virtual Humans: connections to new developments in the cognitive sciences, neuro-sciences, life sciences, behavioral and social sciences. (2) Big Data: We now live in an age of data deluge. New issues arise in the arts and sciences requiring new systems of data representation, visualization, sonification, and simulation in fields ranging from astronomy to geology, to nano-sciences, medicine to business and finance. (3) History of art,science,technology interaction: We will contextualize current work within the history of art, science, technology over the last few centuries.
University of Virginia, Charlottesville, VA http://www.virginia.edu/
CCSC 200-1 Designing Matter
Designing Matter, a collaborative learning experiment at the Universityof Virginiainvolving students and faculty from numerous departments and disciplines, and members of the community too. This weekly forum explores cutting edge research in science and other matter related fields, along with implications for society too. For undergraduates from the College, Engineering, Education, and Architecture Schools, Designing Matter is CCSC 200, a course for credit that offers something unique to all. Connections between course participants and with the community are encouraged through discussion and as students plan individualized projects. Designing Matter seeks connections and builds bridges across cultures, academic and otherwise. Many of the most interesting questions and pressing challenges that we face are too big for individual persons and disciplines to tackle alone. Designing Matter provides a place for sharing insights and perspectives, both common and differing, and for discussing issues of importance to us all. To gain a deeper understanding and to address in a meaningful way, the large issues impacting local, national and global society, our talents must be pooled. In Designing Matter we experiment with new collaborative approaches to learning, and we challenge ourselves to think big. Designing Matter was the first of several Common Courses at Virginiasupported by the “Teachers for a New Era” (TNE) grant, joint with the UVA Curry School of Education.
INST 382-1 Color: Across the Spectrum
Invited by honors students to run interdisciplinary Echols seminar. Themes included: physics of light; biology of vision; color perception; camouflage in biology and the military; color in architecture; color in advertising from a cross cultural perspective; color therapy and moods; the history of dye chemistry; photography and the construction of femininity; skin color, racial identity, and miscegenation (US, Brazil); color in India/Hinduism; epistemology of color in Plato, St. Augustine and Nietzsche; acting/embodied colors in the theater.
University of Washington, Seattle, WA http://www.washington.edu/
Music and Mathematics In this seminar we will learn some common basic mathematics used in music theory, mostly group theory and other algebra. We will then read some recent research from Europe and the USA in the area of mathematical models of music and musical performance. This is a hot, emerging research area in music theory.
Music and Philosophy This seminar will explore the possibility of further cross-fertilization between philosophy, critical theory, and musical thinking in music and in music criticism. Readings from Kant, Hegel, Schopenhauer, Nietzsche, Adorno, Deleuze, and others in philosophy will be accompanied by readings in recent music theory and criticism. Formal musical training not required, but students should be familiar with Western musical traditions.
Music, Desire and Political Economy The seminar will explore the web of interrelationships among music as it structures us and vice versa, desire of all kinds (sexual and other appetites) including the possibility of escape from desire, and the flows, structures, exchanges, and negotiations that make up our personal and public social and political worlds. Each participant in the seminar will lead a discussion on a topic of her or his choice, probably related to the paper required at the end of the term.
University of Wisconsin, Eau-Claire, WI http://www.uwec.edu/
Mathematics and Music (Math 307/507) Mathematics and Music is a 3-credit online course, taught during the summer at UWEC. It provides 3 upper-level GE-V (University wide) credits, and 3 mathematics elective credits for all Liberal Arts math emphases, for math teaching majors, and for comprehensive math/physics teaching emphasis. The course covers a variety of music, including classical, popular, jazz, rock, and world music We will use a variety of free musical software, with lots of hands-on audio processing of music.
University of Wisconsin, Oshkosh, WI http://www.uwosh.edu/home
Chemistry 104 Introduction to the Chemistry of Materials: This laboratory course will teach the chemistry behind materials that society depends on:metals, ceramics, and polymers. Historic and economic impacts of their manufacture and use will be considered. Applications of advanced materials in fields such as electronics, aviation, or art will be discussed.
Wellesley College http://www.wellesley.edu/
NEUR 320 Vision and Art This course will investigate the form and function of the human visual system by considering a unique product of this system: visual art. The course will examine the nature of the physical stimulus to which the visual system is responsive, the physiological mechanisms that capture this signal and convert it into perception, and how this process is revealed in the practice of art. As part of in-class laboratory exercises investigating the resolution and sensitivity of your own visual system, a discipline called psychophysics, students will engage in making their own art and will learn to articulate the mechanisms by which they do so. The interdisciplinary nature of the course will require an advanced level of student participation, commitment, and self-directed learning.
Wesleyan University, MIddleton, CN http://www.wesleyan.edu/
Our Body: The Meeting Place for Science and Dance. The goal of this semester is to direct the student’s attention towards the body as a meeting point of science and dance. The focus will be to learn about ourselves on physical level, explore ranges of motion, and how we can use our body to create utilizing the three basic choreographic principles of space, time, and energy. We will take note of the dances that go within us, how we function, what basic anatomical principles we should be aware of when executing movement safely. As we familiarize ourselves with the body, we will learn how basic science principles such as gravity and force apply, how the skeleton is constructed, how the muscles work. Along this exploration we will learn about healthy practices and habits that we can apply to our everyday life.