Central Saint Martins

Are you aware that our vision mechanism is able to observe and retain 24 images per second? A film strip is composed of many thousands of still images that pass through a movie projector at great speed. Amazing… But before there was ever photography or movies, many were they who, for scientific curiosity or just curiosity in itself, looked for that fascinating effect of moving images. It was the Time of Pre-cinema. And the discoveries happened; each opening a window for future accomplishments. In the sequence of the changing installations for the renovated Museum of Moving Image (m|i|mo), the Polytechnic Institute of Leiria is developing new and rediscovered ways to learn and explore not only those moments passed and their protagonists in the fantastic world of inventions, but also new approaches to these same objects, prolonging their significance through the eyes and lives of their visitors. Some of these are reconstructions of preexisting objects, others were born especially for this museum, for it’s public and ultimately will be a fundamental part of its existence. Because we all seek for something… This Project is built on a multi-disciplinary basis and vises the symbioses between Art, History, Science, Technology and pure enjoyment, reinforcing the dynamics of the relationship between the Museum and it’s Publics. For this, we are creating new ways and reinventing old ones to bring the movie world to everyone’s eyes and minds. Because time is immense and does not stop, our eyes look also at the present and the future.

In the beginning there was light, the Sun, as the genesis of all existence. All the life energy that inhabit the Earth are due to that star. Since early on, Man has used this energetic omnipresence that, initially, He could not dominate. His physical, cognitive and technological evolution allowed Him to appropriate those immense forces of nature and, for millions of years, He discovered new ways to use them for his benefit. The consciousness that some of those sources are not endless, and that disorderly exploitation is becoming a threat to the sustainability of the planet, brings, today, a reflection that should translate in a respectful attitude towards Earth and the implementation of sustainable solutions for the use of energy resources. This is the
A Essência Vital da Energia | Parque Energia XXI 2010
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message we mean to convey, through a museological and interpretative project focused on the essence of energy, it’s natural manifestations, and it’s relation with Man.

A Ciência é omnipresente; escreve-se na procura incessante pelo conhecimento que guia muitos caminhos evolutivos da Humanidade. Os museus da ciência são guardiães de uma estratigrafia evolutiva que atravessa tempo e espaço para se afirmar síntese de feitos passados e pronúncio de futuras descobertas. Movidos pelo valor desses testemunhos do potencial humano e das imensuráveis forças e manifestações da Natureza, os museus da ciência existem para que esses valores patrimoniais perdurem, se prolonguem no tempo e se afirmem na construção cumulativa do Saber. Os museus de hoje, bebem dessa evolução, que aplicam às suas próprias formas de comunicar. A emergência das novas tecnologias contribui para que, na linguagem e comunicação nos museus, nasçam universos de possibilidades criativas. E nessas possibilidades podemos viajar para além do visível para alcançar o que outrora estava confinado, derrubando fronteiras e aproximando-nos da mensagem primordial de realidades, conceitos e objetos.

O presente artigo deriva da investigação realizada pela autora para o seu seminário da licenciatura em História, variante História da Arte, sob a orientação da Professora Doutora Regina Anacleto, na Faculdade de Letras da Universidade de Coimbra. Resenha histórica e artística da Quinta das Lágrimas, lugar imortalizado na história de Pedro e Inês e da cidade de Coimbra, procura explorar a génese histórica e a identidade artística da quinta, desde tempos medievais, então pertença de Santa Cruz de Coimbra e denominada “Quinta do Pombal”. Existem lugares envoltos numa mística especial que nos transportam para outras dimensões; lugares que não se esquecem, que são poesia; assim é a Quinta das Lágrimas. Ancestral guardiã de memórias, este lugar emoldura, ainda hoje, as vivências dos amores de Pedro e Inês. Daí se diz, reza a lenda ou dita a crença, saíam as promessas de D. Pedro a Dona Inês de Castro, e aqui teria esta sido morta, na lenda e na voz de quem cantou esses amores. O alvorecer deste trabalho foi sentido como o princípio de uma longa viagem por esses lugares onde poetas buscam inspiração. Adiante estendia-se um apelo longínquo aos caminhos onde a história aconteceu, e nessa viagem Coimbra cresceu, tornando-se antiga. Ao longo de uma história de antiguidade, de evolução e resiliência, encontramos este lugar presente em muitas vidas ou muitas vidas presentes nele. Foi propriedade agrícola de Santa Cruz de Coimbra e da Universidade, enquanto Quinta do Pombal e foro de várias famílias, mas foi já como Quinta das Lágrimas que se tornou berço e morada. Assistiremos ao pesar de um incêndio e à reconstrução, veremos dificuldades, abandono e, na voz de uma promessa, conhecer-lhe-emos o renascer.

The connection between art and science in observation drawing has mostly been referenced concerning scientific illustration. The botanical drawings of Charles Rennie Mackintosh (1868- 1928) and Margaret Macdonald (1864-1933) have also been referenced as examples linking art and science. These drawings are catalogued and the majority of the botanical specimens are identified. Previous studies have mainly focused on a more individualized descriptive approach of the drawings themselves or a biographical perspective towards Mackintosh’s interest in botany. Nevertheless, a more profound formal study of these drawings as a whole, has not yet been done as to clearly identify their artistic and their scientific features and assess their potential contributions to both art and science. With this in mind, we have analysed 70 botanical drawings owned by the Hunterian Museum and Art Gallery and the National Library of Ireland. We compared their features toy botanical illustrations, photographic records from the present time, real live plants and with both artists’ stylized plant forms. This study should contribute to the dialogue between art and science and, ultimately the appreciation of the natural world and biodiversity.

The connection between art and science in observation drawing has mostly been referenced concerning scientific illustration. The botanical drawings of Charles Rennie Mackintosh (1868- 1928) and Margaret Macdonald (1864-1933) have also been referenced as examples linking art and science. These drawings are catalogued and the majority of the botanical specimens are identified. Previous studies have mainly focused on a more individualized descriptive approach of the drawings themselves or a biographical perspective towards Mackintosh’s interest in botany. Nevertheless, a more profound formal study of these drawings as a whole, has not yet been done as to clearly identify their artistic and their scientific features and assess their potential contributions to both art and science. With this in mind, we have analysed 70 botanical drawings owned by the Hunterian Museum and Art Gallery and the National Library of Ireland. We compared their features toy botanical illustrations, photographic records from the present time, real live plants and with both artists’ stylized plant forms. This study should contribute to the dialogue between art and science and, ultimately the appreciation of the natural world and biodiversity.

Title: Arts and Sciences in Dialogue – Proceedings of the International Conference
Editors: Isabel Ponce de Leão, Maria do Carmo Mendes & Sérgio Lira
Publisher: Green Lines Instituto para o Desenvolvimento Sustentável
eBook ISBN: 978-989-8734-04-4

Photomicrography has been subject of several studies over the years, mostly on a technical perspective. The artistic side of photomicrography is a promising topic of study, which has gathered important contributions for the connection between art and science. In contemporary times it is generally regarded as a form of artistic expression, alongside its role in science. Nonetheless, this subject would benefit from a comprehensive approach so as to understand the process of artistic recognition of photomicrography as part of an increasing dialogue and mutual acceptance and respect between art and science. The present study aims to clarify how photomicrography came to be accepted and fully acknowledged as art from past to present. Moreover, it aims to shed light into collaborative contemporary practices where art and science meet to stimulate a greater appreciation of the natural world. Documental analysis and interpretation was conducted, namely of written texts and images comprised in The Photographic Journal of the Royal Photographic Society between 1853 and 2013. The data retrieved and analysed was complemented with information regarding contemporary artistic photomicrography. Research has shown that, despite persistent resistance, in the early years of the twentieth century artistic photomicrography was accepted and subsequently acknowledged and encouraged. Photomicrography is currently on a growing path, to a great extent due to contemporary practices where its scientific and artistic potential are brought together to promote the experience, understanding and appreciation of the natural world.

The union of microscopy and photography is a highly significant scientific accomplishment that has contributed immensely to the way we perceive, understand and interpret the world, including the realm of plants. For over a century, botanical photomicrography has been a fundamental tool for the development of a large variety of disciplines, including archaeology, engineering, and art.

In the mid-1800s, the interest for plants and flowers was one of the preferred subjects to occupy the curriculum of official artistic training in the United Kingdom. The rapid evolution of art schools brought with it the demand for an increasingly qualified, and varied instruction. Botanical studies and the connection between art and nature through the observation, understanding and depiction of the vegetable kingdom, was at the core of the training in the arts, including the then-flourishing discipline of Design. Drawing from copies, in the first stages of instruction, was followed by observation drawing of plants, with particular attention to foliage and flowers. For this to be a continuous practice throughout the school year, it became necessary to have an ongoing supply of fresh plants to be observed, studied and reproduced by the students.
In this context, a partnership was established between the Royal Botanic Gardens, Kew and the Department of Science and Art, both in London. In 1855 the Royal Botanic Gardens were supplying the main school of art and design in London, with cuttings and live specimens of plants and flowers, for the use of the students. Written records, primarily correspondence between the directors and curators of the Royal Botanic Gardens and the Department of Science and Art, attest to this long-lasting arrangement until the year 1912, which greatly benefited the artistic training delivered by the main schools of Art and Design in Victorian London.

This paper explores some of the important steps in the evolution of my doctoral research, which aims to relocate the notion of dramaturgy from the performing arts into interactive installation art. It briefly contextualises dramaturgy in the 21 st century, and analyses the dramaturgical transformations caused by the impact of technology. It uncovers the still open process of the composition of a performative interactive installation, which supports the development of space dramaturgy concept. Developing the concept of space dramaturgy presupposes the analysis of other compositional elements vital for the elaboration of the concept: space, body and technology. The first aspect to be analysed is the philosophical scope related with both individual and collective experience of space. This draws on Bachelard, Merleau-Ponty and Lefebvre's spatial theories. The theoretical underpinning is followed by a review of the process behind practice-based research, reflecting on the possibilities of adapting that to a dramaturgical questioning. Finally, the paper enquires into the interweaving of spatial bodily experience, participation, technology, the importance of time, and memory as a mean of finding performativity in interactive art installation, taking as a specific example the doctoral practice research.

By 2050 65-75% of the world population will live in cities. 1 As more people are gathered in the urban centres, the urban borders are infinitely expanded transforming the shape of the cities and of the surrounding countryside. In this expansion people are the absolute necessity for the city's viability, but despite this fact they are not necessarily participant in the design of the urban space. A number of surveys and workshops are claiming to take into consideration the wishes of the local residents in the process of redeveloping each area, but the jargon, the phrasing and the structuring of these surveys raise questions on how much of their content is grasped. The whole process of extracting conclusions from such classification surveys is highly questionable, as it seems that they can easily be manipulated towards the speculations of local authorities and financial investors. The viability of each urban project is based upon variable aspects, namely financial, social and political parameters, and the process of designing follows efficient diagrams and charts that, respectfully of land use classifications and building regulations, produce a master plan for the shaping of the area. This sophisticated process has been developed gradually since the late 18 th century in a 'utopian hope that changing the design of streets and parks would have improving social and moral effects. […] Instead of assuming that changes in the social structure of the city should be accomplished first in order to change