« Imagerie médicale et création artistique » participe à l'étude sur les liens qui se sont tissés entre art et médecine, depuis les représentations préhistoriques du corps, jusqu'aux techniques modernes de l'imagerie médicale. Mon expérience double d'artiste plasticienne et de médecin radiologue, a été le point de départ de cette réflexion pour ce travail de recherche. J'ai souhaité comprendre comment l'imagerie médicale pouvait s'inscrire dans l'histoire des représentations artistiques du corps humain, comme sujet ou comme matériau, et comme moyen d'investigation cognitif d'étude de la production et de la réception de l'œuvre d'art. La création artistique se retrouve être sujet et objet. Il s'agit d'étudier le corps des œuvres intégrant l'imagerie médicale à la lumières des connaissances anatomiques de chaque époque, et des possibilités techniques d'appropriation. Le développement très rapide de l'imagerie médicale a également permis aux neurosciences de progresser, et d'étendre leurs études à des domaines cognitifs intéressant la création artistique. Elles commencent à percer les processus les plus intimes de la création artistique, à décrire les différents mécanismes cérébraux mis en œuvre lors de l'élaboration d'artefacts artistiques et de leur réception. Je ferai donc appel à des scientifiques neurocogniticiens qui se sont particulièrement intéressés à la création artistique tels Semir Zeki, Jean-Pierre Changeux, Antonio R. Damasio, pour tenter de préciser comment se met en place le processus artistique et de quelle manière il peut, certaines fois, être associé à diverses pathologies. L'imagerie médicale a considérablement évolué ces dernières années et se développe encore très rapidement. C'est elle qui a permis le développement des neurosciences grâce surtout à l'imagerie fonctionnelle. / « Medical imaging and artistic relation » is concerned by the relationship forged between art and medicine, since prehistoric representations of the body, till modern medical imaging. My double experience of radiologist and visual artist was the starting point of this reflection for this research. I aimed to understand how medical imaging contributed, over history, to the artistic representation of the human body, be it as subject or as material, as well as it is a way of cognitive investigation in the process of creating and adapting an artwork. Artistic creation is both a subject and an object. I look up at the corpus of current techniques and the artworks incorporating medical imaging based of the anatomical knowledge available at a given period. The rapid development of medical imaging techniques contributed to the development of neurosciences and to the understanding of the cognitive areas related to artistic creation. The neurosciences are allowing to analyze the most intimate processes of artistic creation, and to describe the different brain mechanisms, used while developing and implementing artistic artifacts. I will therefore look at neurocogniticians scientists who were particularly interested in the process of artistic creation, such Semir Zeki, Jean-Pierre Changeux, Antonio R. Damasio, aiming to clarify how the artistic process is generated, and how it could, at times, be associated with various pathologies. Medical imaging has evolved considerably in recent years and is still progressing very quickly. Functional imaging has therefore enabled considerably the development of neurosciences.

The growing demand in the industry towards sustainability and the globalization of manufacturing lead to an industrial climate of constant development and improvements, and automotive interior design is not excluded. In 2017 the European Union declared that the material used to generate the bright chrome surfaces of car interiors (CR VI) is toxic and carcinogenic. This implies that Volvo will ban the use of Chrome VI for decorative parts from September 2024.  Finding a more eco-friendly alternative to replace CR VI not only functionally but also in terms of perceived quality and user experience will be an urgent and decisive action.  In this project, the parameters of gloss, haze, color temperature, and metallic depth are investigated in order to figure out which elements ensure the perceived quality of chrome surfaces.  For this purpose, a user study based on different sensory tests and soft metrology was carried out with 48 people, as well as seven samples, five of them more eco-friendly alternatives. This project aims to introduce a set of tools to assess and guarantee the perception of quality by supporting the development of "chrome-look" surfaces in the automotive interior with new sustainable materials. Through this study, correlating soft and hard metrology, it is observed what makes a surface perceived as "high-quality" and which of the more eco-friendly alternatives could be the most optimal to replace Chrome VI in Volvo's car interiors.