#science-and-art

#science-and-art

"Technology is both the remedy and the poison," artist Cao Fei quotes Bernard Stiegler, emphasizing the complex relationship between technological advancements and their impact on human practices.

In 2025, Dmae Lo Roberts embarked on a statewide storytelling experience focusing on personal stories from both artists and community members. These stories are a form of living oral history.

Xinyu Hou designs for adaptation, working with the body as it actually behaves under stress, rather than how it is only expected to perform for an audience.

The Sanctuary of Dreams operates as a collective framework for imagining futures, developed within the universe of Toguna World to reactivate dreaming as a shared cultural practice rather than an individual act.

International scientists, particularly those on visas, face unique challenges in their careers, especially in STEM fields. My book, 'Thriving as an International Scientist,' addresses these issues.

Studio NEiDA operates at the intersection of architectural practice, research, and curatorial work, focusing on how buildings emerge from the material and cultural conditions of a place.

The project emphasizes the reactivation of spatial value within existing community structures, transforming building stock into community assets of public significance.

The after-hours special showcase was first tested in January 2024 on the sidelines of the Africa Cup of Nations football tournament hosted and won by Cote d'Ivoire.

The contemporary technology museum has emerged as a performative participant in the systems it seeks to document. The architecture of these institutions has become increasingly fluid and bold, often mirroring the velocity and complexity of the systems it houses. They operate as mediators between the human, the ecological, and the technological realms, transforming from encyclopedic warehouses into active educational engines.

Kyoung Chun's creative practice moves between painting and site-specific installation. Interactive works extend the language of painting beyond the canvas, inviting viewers into environments that challenge perception and encourage connection.

Flusser believed that the transformation brought about by new media would reshape the world, leading to a consciousness defined by images rather than the written word.

There's a particular kind of panic that hits when you're facing a creative problem, and the well just feels... empty. Every idea seems stale. Every solution feels recycled. And the question creeps in: Have I finally used up all my good ideas? Maybe it's your third attempt at solving the same design problem, and every solution feels like a pale echo of something you've already tried. Or perhaps you've been churning out work for months, and suddenly the spark you used to rely on? Gone.

As AI systems become more capable, more accessible, and more embedded in everyday workflows, creativity is emerging as one of the most important human skills in AI development and deployment. Not creativity as decoration or aesthetics, but creativity as problem framing, decision-making, and human judgment. In an era where many organizations are using the same models, tools, and platforms, creative thinking is what separates meaningful outcomes from generic ones.

When a scientist feeds a data set into a bot and says "give me hypotheses to test", they are asking the bot to be the creator, not a creative partner. Humans tend to defer to ideas produced by bots, assuming that the bot's knowledge exceeds their own. And, when they do, they end up exploring fewer avenues for possible solutions to their problem.

Recently, AI decided that a painting long thought to be a copy of Caravaggio's The Lute Player is actually by the master, while another version of the same subject, previously thought to be authentic, is not. Both conclusions were disputed by the former Metropolitan Museum of Art curator Keith Christiansen. A similar debate erupted in March 2025 when AI declared that portions of The Bath of Diana, also long believed to be a copy, could have been painted by Peter Paul Rubens.