Chapter 7 - Science and Art in Collaboration—The Mindship Method

Transgressive Women, Transworld Women

Kundera's characters have always struggled both with images and identities they have constructed for themselves and that others have constructed for them. Since Milan Kundera's emigration to France, much of his fiction has explored such struggles through dialogical split between youthful characters who live in the fragile world of lyrical self-expression and definition, and cynical narrator, literary representative of the author, who resides in world of political realities and external definition of individuals. As readers have become used to Kundera's technique of self disclosing narrative, many have quite naturally associated the Kundera who inhabits his fiction with the writer himself. Nesmrtelnost (Immortality, 1991) does not accept such familiarity between reader and author; the novel seems to shake finger at those who confuse writer with the image created through his or her work. This is accomplished by implicating the falsity of human perception in both seemingly real and visibly fictional worlds through the juxtaposition of the plausible against the artificial and by drawing attention to our subjectivity in reference to early formalist polemics. Self-disclosing narratives such as those employed by Kundera function by making what is normally covert, overt. Fiction becomes game between author and reader. Immortality plays with the reader's perceptions by creating three tiered fictional world which consists of what appear to be three possible worlds. The first, the world of the self disclosing narrator, Milan Kundera, is the highly believable and recognizable world of contemporary Paris. It is this world that seems to guide the reader through the text. The second, the world of the characters, is avowedly artificial, though it is born out of familiar elements brought from the first world. Immorality's third possible world is the amorphous realm of the immortals where the likes of Hemmingway and Goethe meet to discuss their fates, i.e., images of them constructed out of popular opinion. The novel's narrator gains our trust as readers, and then shocks us by allowing the three tiers to collide, thus drawing attention to the artificiality of all fictional worlds, as well as the frailty of our perceptions in the actual world. Kundera's narrators typically provide background material regarding pertinent historical and literary information. In the case of Immortality, the novel is peppered with myriad allusions to twentieth-century literary polemics, in particular certain ideas of the Russian formalist Viktor Shklovsky. Shklovsky sought to combat nineteenth-century Positivism and the often quoted and, to be fair, misquoted, ideas of Potebnya's is thinking in images.3 In the fictional world of Immortality, characters think and view literature and the world around them in terms of images. The narration, however, is constructed in terms of Shklovsky's ideals for art as propounded in Art as Device. Shklovsky's argument, briefly stated, is that the habitual way of thinking is to make the unfamiliar as easily digestible as possible. Normally our perceptions are automatic, which is way of saying that they are minimal... Since perception is usually too automatic, art develops variety of techniques to impede perception, or at least to call attention to themselves.4 It is in this study that Shklovsky identified series of literary devices that shaped the way generation of scholars read literature and writers composed fiction. Such devices are employed in Immortality in self-conscious manner. These techniques include: ostranenie (defamiliarization), a device by which phenomenon is taken out of its conventional context so that it may once again be seen, not merely recognized; zatrudnennaia forma (defacilitation), any device that forces the reader or listener to follow the text with an intense conscious effort and to wonder about its meaning..., and (lastly) obnazhennie priema (laying bare the device). …

This paper delves into interdisciplinary approaches to the creation of artwork by integrating two distinct scientific elements. Exploring the challenges and opportunities inherent in the creative process necessitates collaborative thinking between the realms of art and science. Despite often being regarded as separate domains, in reality, art and science can be intertwined in numerous contexts. Narratively, this paper seeks to provide a concise overview of the concept of generating artworks by amalgamating two scientific elements. Through case analysis and a review of the existing literature, various issues that may arise can be identified. The fusion of art and science plays a pivotal role in addressing the increasingly pressing concerns of the environment and climate change, with the aim of producing works that elicit empathy and inspire action. The "Human/Nature" exhibition serves as a concrete illustration of how art and science can collaborate to communicate messages about the urgency of climate change. In this exhibition, art facilitates the connection between environmental issues and personal emotions and experiences, enabling society to feel its impact more profoundly. Conversely, science provides a robust scientific foundation and data that underpin the comprehension of climate change, affirming that art serves not only as a form of expression but also as a catalyst for positive social change.

For Merleau-Ponty and Maldiney, the world of the pictorial image is “an almost crazy world” and a world of “confused sensations”. However, it is not only an illusory and chimeric world, cut off from the real world. Indeed, far from distancing us from the real world, this craziness and this confusion bring us back to it. The objective of this essay is therefore to question the relationship between pictorial art and the real (not fictional or imaginary) world. Certainly, the pictorial work of art makes us return “to the things themselves”, because it establishes a conversion of the gaze and a metamorphosis of the visible. But one can ask if this conversion of the gaze does not reverse the movement of phenomenological “reduction” as described by Edmund Husserl, since it plunges us into the very heart of the world and does not imply any abstention or abstraction. For Maldiney as for Merleau-Ponty, painting reveals our original being-in-the-world, so that it will be necessary to elucidate what it means exactly. Moreover, we will investigate the role of style and rhythm as well as the role of color and the line in order to describe more precisely the connection between the world and the work of art, between continuity and discontinuity. Finally, we will propose another meaning of the word “image” in order to highlight the ethical function of the image thus understood.

The art and science of collaboration in bioengineering research

The degree of comprehensibility of any art creation depends on its perception as a coherent whole. It is one of the axioms of hermeneutics. Nonetheless, the internal links of a fictional text can be divided into two different types by similarity and by contrast. This fact allows for an analogy that is due to the fiction world being somewhat similar to the real world, i.e., arranged quite in line with the doctrine of the ancient Greek philosopher Empedocles. This philosopher thought the complex unity of the cosmos to be organized by two opposite powers - Love (φιλία) and Feud (νέικος). A modern physicist would call them the forces of attraction and repulsion. The analogs of “love” attraction and “hostile” repulsion are a symbolic representation and a tension of opposite values in a fiction world. When drawing the above analogy, one should take into account the fact that the art world, unlike the real one, has a purely intentional character, that is, all its objects and the connections between them are mediated by the consciousness and value-based intention of the author, the protagonist, and the reader. These opposing powers of “Love” and “Feud” may also be called the integral and differential axes of the value-semantic structure coordinates of the fiction cosmos. It is in these coordinates that the aesthetic event and the comprehensive participation of the reader take place. The paper provides a number of analyses of various works and fragments of fiction to substantiate the above-formulated thesis.

This study examines the relationship of holistic social science to the field of Al-Qur'an interpretation. Holistic social science in question is social science based on three aspects in the philosophy of science or the collaboration of various scholars related to the subject of interpretation. The research method used is ontological analysis from the (social) philosophy of science and related to the epistemological character of the thematic interpretation. Compiling and understanding interpretations related to certain scientific fields, including the social field, without the help of a philosophy of science is something that is not sufficient to dialogue reality with the context of the Qur’an verses. Therefore, it is not enough for the interpreters of the Qur'an to rely only on scientific data from the research of the Kantian paradigm without verifying them in a more contextual and actual study based on the intended holistic paradigm. Philosophy and related social sciences at the same time or the cooperation of various social sciences is a holistic paradigm that is needed in exploring an interpretation related to the subject of interpretation or the problem to be dialogued with verses, especially in the field of thematic interpretation. For this holistic paradigm can have functions: First, the position of philosophy of science can offer a proportional dialogue between text and context. Second, the collaboration of science, philosophy, and art can make the social sciences in particular not forget their basic goals and interests, namely: to create a better human life and to make it liberating or emancipatory interpretations.

This chapter describes how technology, progressing rapidly, and especially computer technology has become an indispensable detail in daily life. The act of playing games starting to become virtual has emerged as a progress. In these early years, when the line between place and space has started to become thinner and people began to recognize the lines of flight between the real world and the virtual world, the movie “Tron” made an attempt to explain this possibility of transitivity. 28 years after the first movie, the sequel “Tron Legacy” emphasizes that this possibility still exists. The individual, in this sea of possibilities, comes and goes between place and space and becomes distant to their temporal context, digitalized and goes through deterritorialization. The narrative of the fictional world, the game world in this fictional world, the real world and the game field in the real world will be discussed in terms of transmedia, and some assumptions will be put forward through people and therefore, the deterritorialization of the media.

Software-dependent artwork is on the increase as software use expands into every part of our lives. Sometimes artists develop this style of artwork by themselves, but more commonly they seek help from technologists, creating an opportunity for artists and software developers to collaborate. This paper presents the experience of a real-world collaboration through a case study of the development of a software-dependent artwork where students were the software developers.

Image enhancement is very important image preprocessing technology especially when the image is captured in the poor imaging condition or dealing with the high bits image. The benefactor of image enhancement either may be a human observer or a computer vision process performing some kind of higher-level image analysis, such as target detection or scene understanding. One of the main objects of the image enhancement is getting a high dynamic range image and a high contrast degree image for human perception or interpretation. So, it is very necessary to integrate either empirical or statistical human vision psychology and perception knowledge into image enhancement. The human vision psychology and perception claims that humans' perception and response to the intensity fluctuation δu of visual signals are weighted by the background stimulus u, instead of being plainly uniform. There are three main laws: Weber's law, Weber- Fechner's law and Stevens's Law that describe this phenomenon in the psychology and psychophysics. This paper will integrate these three laws of the human vision psychology and perception into a very popular image enhancement algorithm named Adaptive Plateau Equalization (APE). The experiments were done on the high bits star image captured in night scene and the infrared-red image both the static image and the video stream. For the jitter problem in the video stream, this algorithm reduces this problem using the difference between the current frame's plateau value and the previous frame's plateau value to correct the current frame's plateau value. Considering the random noise impacts, the pixel value mapping process is not only depending on the current pixel but the pixels in the window surround the current pixel. The window size is usually 3×3. The process results of this improved algorithms is evaluated by the entropy analysis and visual perception analysis. The experiments' result showed the improved APE algorithms improved the quality of the image, the target and the surrounding assistant targets could be identified easily, and the noise was not amplified much. For the low quality image, these improved algorithms augment the information entropy and improve the image and the video stream aesthetic quality, while for the high quality image they will not debase the quality of the image.

Using an excerpt from Stanisław Lem’s Solaris, this article explores the idea that, in a literary text, a fictional world and the world of physical reality may interact to form such a reality that can paradoxically turn out to be more real than what we believe to be the actual reality. It is also shown that the fictional world realized in a literary text may bring the reader to certain conclusions about the world in which he or she lives. Thus, even if literature is in­capable of affecting reality, it can change the way the latter is perceived. A fictional world is not just a reality — it is a reality of a higher order.

Sharing a social identity is a key component of interdependence in romantic relationships. In particular, sharing a social network of friends and family members with a romantic partner enhances relationship quality, but maintaining an integrated social network is not always possible. When people lack a shared circle of friends with their partners, sharing media like TV shows, books, and movies with partners may compensate for this deficit and restore closeness. Two studies examined the influence of sharing real and fictional social worlds on relationship outcomes. Our findings showed that when people lack shared friends with their romantic partners, sharing media predicts greater relationship quality and people become motivated to share media with their partners. These studies show that shared media can enhance interdependence and allow people to compensate for lacking a shared social network in the real-world.

Scientific research into human cognition is well established by decades of rigorous behavioral experimentation, studies of the human brain, and computer simulations. All of these converge to provide scientific insights into perception, judgment, and decision making (Dror & Thomas, 2005; Kosslyn & Koenig, 1995). Many of these theoretical insights play an important role in our understanding of how humans behave in the real world. The scientific research has important bearings on how human perception, judgment, and decision making can be enhanced, as well as how both lay people and experts can (and do) make mistakes. Bridging scientific theory to the real world can assist our understanding of human performance and error and help us evaluate the reliability of humans. Furthermore, it has implications on how to minimize such error through proper selection and training, best practices, and utilizing technology (Dror, 2007, in press). In this chapter, scientific findings about human cognition are discussed and linked to practical issues in the real world of investigations.

This chapter introduces three arts projects that employ different collaborative methods to promote climate change awareness through community-based environmental education. The artworks provide new access points to climate change information, rather than acting as a representative for the discipline of science. This allows different ways of knowing about climate change through the experience of the artworks. The artworks were created through collaboration between scientists and creative practitioners, such as artists or designers, who has expertise in communicating information to a non-expert audience. The collaboration is aided through the creation of a boundary object, which allows creative practitioners to develop their understanding of the science they are presenting to their audience. The artworks also act as a boundary object between the scientist and the general public, allowing both groups to understand and transform their knowledge about climate change.

159. Equity in Youth Health Care: Fostering the Art and Science of Inter-Service Collaboration