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Art and Science

Arts et sciences




ArtSci - ISSN 2515-8767 - © ISTE Ltd

Aims and scope

Objectifs de la revue

The Arts and Sciences journal presents works, achievements, reflections, techniques and prospects that concern all creative activities related to the arts and sciences.

Painting, poetry, music, literature, fiction, cinema, photography, video, graphic design, archeology, architecture, design, museology etc. are invited to take part in the journal as well as all fields of investigation at the crossroads of several disciplines such as pigment chemistry, mathematics, computer science or music, to name but a few examples.

 

List of authors

 

Contents

 

Authors guidelines

 

La revue Arts et sciences présente les travaux, réalisations, réflexions, techniques et prospectives qui concernent toute activité créatrice en rapport avec les arts et les sciences.

La peinture, la poésie, la musique, la littérature, la fiction, le cinéma, la photo, la vidéo, le graphisme, l’archéologie, l’architecture, le design, la muséologie etc. sont invités à prendre part à la revue ainsi que tous les champs d’investigation au carrefour de plusieurs disciplines telles que la chimie des pigments, les mathématiques, l’informatique ou la musique pour ne citer que ces exemples.

 

Liste des auteurs

 

Sommaires

 

Consignes aux auteurs

 

Journal issues

2024

Volume 24- 8

Special issue

Issue 1

2023

Volume 23- 7

Issue 1
Issue 2
Issue 3
Issue 4

2019

Volume 19- 3

Issue 1

Issue 2

2018

Volume 18- 2

Issue 1

Accounts

2017

Volume 17- 1

Issue 1

Recent articles

The Querulous Hermann Fol (1845-1892): His Scientific Work, Art, and Inventions
John R. Dolan

Hermann Fol was a very accomplished Swiss naturalist of the late 19th century, but today is largely forgotten. He was a student of the notable biologists Édouard Claparède and Ernst Haeckel, and like them, specialized in the study of marine organisms. Fol is known only among embryologists for his description of fertilization in echinoderms. In reality, his work ranged well beyond such studies to encompass diverse taxa of the marine plankton, illustrated with remarkable scientific artwork, and included designing various scientific devices. Fol worked on human embryology, light penetration in seawater, methods of reducing microbial contamination of drinking water, and development of a rabies vaccine. His career was marked by a long series of disputes with contemporary naturalists and was relatively short, ending at age 47 with a mysterious disappearance. Here I provide a review of his contentious life, his scientific work, his scientific art, his scientific inventions, and his role in establishing Villefranche-sur-Mer as a center of marine science. The life and work of Hermann Fol is shown to be an example of the very wide-ranging activities of 19th century naturalists, and the apparent dangers of an over-sized ego.


Genius loci : digging to reveal ? Art and Archaeology, the example of Terra Amata
Charlotte Pringuey-Cessac, Bertrand Roussel

Is the approach of the scientist, in this case, the archaeologist, and that of the artist when they discover a prehistoric site, truly so distant? To comprehend a space, it is necessary to gauge what already exists. If this element serves as a clue for the archaeologist, how is it perceived by the artist attempting to understand it? Visual artist Charlotte Pringuey-Cessac and prehistorian Bertrand Roussel discuss their respective approaches to the Terra Amata site, within the framework of an exhibition they presented from December 6, 2019, to May 17, 2020, titled "Bruit originaire" (Original Noise). Even if the origin of humanity is probably forever concealed from us, it does not prevent us from wanting to approach it. It seems that there is a similar and shared intention between the artist’s practice and that of the prehistorian. Whether in the artist’s intention or the archaeologist’s, the idea of promise persists in the very practice of each.


Introduction
Yves Desdevises

Au cours de leur histoire, art et science se sont fréquemment entremêlés en une symbiose féconde, se nourrissant l’un l’autre, l’art s’inspirant des formes et régularités proposées par la Nature, et les scientifiques illustrant les phénomènes et organismes qu’ils étudient en laissant souvent transparaître l’émotion suscitée par ces objets eux-mêmes. Les scientifiques, comme les artistes, sont guidés par l’inspiration à une étape ou une autre de leur processus de création, et ne sont jamais meilleurs que lorsque la passion les guide pour choisir et explorer les sujets de leurs choix. Le travail sur commande est rarement leur fort. Certains scientifiques ont été de véritables artistes. Leonard de Vinci vient immédiatement à l’esprit, mais on pense également à Ernst Haeckel.


The art of naturalist illustration by Henri de Lacaze-Duthiers
Raphaël Lami, Catherine Jessus

Henri de Lacaze-Duthiers (1821-1901), a famous 19th-century professor of zoology, is known as a pioneer of experimental zoology, for his teaching at the Muséum and Sorbonne, and for founding the Roscoff and Banyuls-sur-Mer marine stations. But he also stood out for his naturalistic drawings of marine fauna. Whereas some of his colleagues gave in to the temptation to embellish the results of their observations, he favored a particularly precise depiction of marine creatures. The meticulous details of his drawings reveal crucial anatomical features of marine organisms, and have thus contributed to the advancement of knowledge about marine biodiversity. But the aesthetics of these drawings go far beyond their scientific vocation, and are much admired today. The finesse of the line, the care taken with shading, the richness of the colors and the elegance of the forms convey the artistic emotion of their creator, fascinated by the beauty of the creatures he depicted. Henri de Lacaze-Duthiers was also an experimenter in improving scientific illustration techniques, as revealed by his experiments in the use of animal-derived purple color and chromolithography for scientific publishing. He also innovated in the scientific illustration of his lectures, taking an interest in projection devices, and strongly supported the development of scientific photography. Henri de Lacaze-Duthiers thus finds his place among the scientists of the 19th century recognized not only for their taste for new media shared by artists and scientists, but also for the aesthetic quality of their work. Discovering his work invites us to rediscover with emotion man’s vanished connection with nature, which these early explorers so powerfully felt and so well expressed in their drawings.


Édouard Chatton, a scientist close to art
Catherine Jessus, Marcelino Suzuki, Vincent Laudet

Édouard Chatton (1883-1947) was a major biologist of the first half of the 20th century, who devoted his life to the study of the microscopic organisms that live in all waters of the planet, the protists. Initially a researcher at the Pasteur Institute, he became a professor at the universities of Strasbourg, Montpellier and the Sorbonne. He directed the marine stations at Sète and Banyuls-sur-Mer. His discoveries laid the foundations for modern cell biology, and he conceptualized the distinction between prokaryotes and eukaryotes in the living world. His scientific drawings reveal his remarkable talent as a draftsman and colorist. Édouard Chatton was also an amateur painter, mastering oil paint, watercolor and pastel. Did the painter’s artistic eye influence the scientific illustrations produced by the researcher? Did the scientific objects of the biologist influence the painter’s aesthetic approach? If the two types of practice - scientific drawings and paintings by the amateur painter - do not seem to interpenetrate, there is a third type of production that leaves room for questioning. These are large cardboard sheets covered with drawings, used to illustrate Édouard Chatton’s amphitheater lectures. These harmonious, surprisingly colored boards, filled with undulating, strange and enigmatic shapes, are charged with marvelous beauty and exude an immediate aesthetic seduction. Discovering them is an original opportunity to tackle the question of the convergence between art and science.


Microplankton in Banyuls Bay: An unsuspected living beauty
Laurent Intertaglia

Microplankton - aquatic organisms that drift along with water masses - play a crucial role in the functioning of our planet. Observing its diversity and stunning beauty led me, over a period of ten years, to capture more than 3,000 images, some of which have been used for competitions, exhibitions and communication media.


The unexpected beauty of phytoplankton, from molecule to space
François Lantoine

The aim of this article, by combining Science and Art, is to illustrate, through a few examples, the diversity of perceptions of the beauty of phytoplanktonic microorganisms at scales of observation ranging from the molecule to space.

Editorial Board


Editor in chief
 

Marie-Christine MAUREL
Sorbonne Université, MNHN, Paris
marie-christine.maurel@sorbonne-universite.fr
 

Co-Editors
 

Jean AUDOUZE
Institut d’Astrophysique de Paris
audouze@iap.fr

Georges CHAPOUTHIER
Sorbonne Université
georgeschapouthier@gmail.com

Ernesto Di Mauro
Università Sapienza
Italie
dimauroernesto8@gmail.com

Mickaël FAURE
Ecole des Beaux-Arts
mickael.faure@versailles.fr

Jean-Charles HAMEAU
Cité de la Céramique Sèvres et Limoges
jean-charles.hameau @sevresciteceramique.fr

Ivan MAGRIN-CHAGNOLLEAU
Chapman University
États-Unis
magrinchagnolleau@chapman.edu

Joëlle PIJAUDIER-CABOT
Musées de Strasbourg
joelle.pijaudier@wanadoo.fr

Bruno SALGUES
APIEMO et SIANA
bruno.salgues@gmail.com

Ruth SCHEPS
The Weizmann Institute of Science
Israël
rscheps@hotmail.com

Hugues VINET
IRCAM, Paris
hugues.vinet@ircam.fr

Philippe WALTER
Laboratoire d’archéologie
moléculaire et structurale
Sorbonne Université Paris
philippe.walter@upmc.fr

 


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