No description available.

Art's search for new subjects and methods and science's need for effective communication have led to the creation of what is known as Sci-Art. It is the central argument of this thesis that collaboration between creative and scientific disciplines can play a useful role in society, but that this potential is held back by misunderstanding of the roles of art and science. The main purpose of this practice-based research project, which is also supported by a written thesis, is to determine the relationship between artists and scientists, focusing on the visualisation of DNA. The project will identify their shared approaches to its representation, and will explore the history of DNA as an iconic form. An additional purpose of this study is to analyse the importance of the role of collaboration between scientists and artists including its application to education. My method is to review Sci-Art work and analyze the benefit of collaboration between science and art. Part of this research will focus on the benefits of Sci-Art collaboration for education. This part of the research involved a case study at Trinity Catholic School, with a project called Laboratories. Collaborative artworks and exhibitions are the final outcome of this project; they explore the ways in which Sci-Art can be developed as a useful form of interdisciplinary practice. These creative methods provide a route to a deeper understanding of the relationship between art and science. The thesis demonstrates through a combination of theoretical argument and creative practice that Sci-Art has the potential to: Act as an aid to understanding difficult scientific concepts; add to debate about the ethical issues surrounding science and increase the effectiveness of education.

Prenant pour point de départ l’omniprésence de l’animal dans l’art actuel, notre recherche s’attache à comprendre comment la question de l’altérité, souvent explicite dans le discours des artistes contemporains qui utilisent le thème de l’animal, se pose à travers ce dernier. En effet depuis le romantisme et suite à une crise propre à la modernité, l’homme, accablé par une mélancolie et la nostalgie de l’Harmonie et de l’Unité perdue, cherche à combler le fossé qui le sépare de « l’absolu ». C’est dans cette tentative de réconciliation que l’animal en tant qu’altérité prend une place importante. Ainsi dès le milieu du XVIIIe siècle l’attention de l’homme européen se tourne vers ces autres qui sont les « sauvages », les enfants et les animaux. Un nouveau type de rapport entre l’homme et l’animal s’instaure alors. Nous étudions ce changement de rapport en commençant avec Goya et sa descente aux enfers qui interroge la vérité de l’homme. Ensuite nous cherchons à comprendre comment se manifeste l’attrait pour l’« exotisme » chez les romantiques, peu à peu remplacé par la question de l’« éthique », pour enfin aboutir à une certaine forme d’ « animalisme ». / By taking into account the omnipresence of the animal in present art as a point of departure, our research seeks to conceive how the question of otherness, often explicitly articulated in the discourse of those contemporary artists who use the animal theme, has been put forward through it. In effect, since the romanticism and its successors have posed a real crisis to the modernity, the man, overwhelmed by melancholy and nostalgia of the past harmony and its lost unity, seeks to bridge the gap that separates her from the “Absolute.” It is in this endeavour of reconciliation that the animal as otherness holds an important position. Since the eighteenth century, the attention of the European man has turned to these forms of “others,” as the “wild,” the children and the animals. Then a new kind of relation has been developed between the Man and the Animal. Here we study this change of relation, inaugurated by Goya, and its descent into hell that queries the truth about Man. Afterwards we seek to understand how the attraction of “exoticism” among the romantics has been manifested, while gradually replaced by the question of “ethics,” that finally lead to a certain form of “animalism.”