The Meeting of Old Friends: Exploring the Art-Science Dynamic in the Context of Astronomy and Astronomy Education
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| Title: | The Meeting of Old Friends: Exploring the Art-Science Dynamic in the Context of Astronomy and Astronomy Education |
|---|---|
| Language: | English |
| Authors: | Saeed Salimpour (ORCID |
| Source: | Science & Education. 2025 34(4):2707-2737. |
| Availability: | Springer. Available from: Springer Nature. One New York Plaza, Suite 4600, New York, NY 10004. Tel: 800-777-4643; Tel: 212-460-1500; Fax: 212-460-1700; e-mail: customerservice@springernature.com; Web site: https://link.springer.com/ |
| Peer Reviewed: | Y |
| Page Count: | 31 |
| Publication Date: | 2025 |
| Document Type: | Journal Articles Reports - Evaluative |
| Descriptors: | Astronomy, Science Education, Art, STEM Education, Discovery Learning, Problem Solving, Interdisciplinary Approach, Art Education, Science Projects, Student Projects, Semiotics |
| DOI: | 10.1007/s11191-024-00604-1 |
| ISSN: | 0926-7220 1573-1901 |
| Abstract: | For millennia, the awe and wonder of the night sky has captivated and inspired humans to explore some of the most fundamental mysteries of the Cosmos through different perspectives and disciplines. Astronomy as a field of inquiry exemplifies a synergy of disciplines, a synergy that is more often tacit. Over the years, education and educational reforms have evolved into creating demarcated subjects. While this is understandable from a technical perspective, it delimits and misrepresents the breadth of research contributing to the field and its wider implications. This applies to ways that astronomy relates to the STEM disciplines, but more widely to art and science interactions. One of the unfortunate implications of this is that students are not able to fully appreciate the fact that exploration, solving problems and development of astronomical knowledge require the synergetic interaction between knowledge and skills from a range of disciplines. In order to highlight the potential for interdisciplinary synergies, this paper explores one of the most ancient of disciplinary synergies, that of art and science, in the context of astronomy. Through the analysis of various astronomical art-science projects, the aim is to theoretically characterise this synergy through the lens of social semiotics and its associated constructs. The proposed theoretical characterisation is used to provide examples of how this synergy can be productively realised in the context of the classroom. |
| Abstractor: | As Provided |
| Entry Date: | 2025 |
| Accession Number: | EJ1482054 |
| Database: | ERIC |
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| FullText | Links: – Type: pdflink Url: https://content.ebscohost.com/cds/retrieve?content=AQICAHj0k_4E0hTGH8RJwT4gCJyBsGNe_WN95AvKlDbXJGqwxwFUmQ1yhzwLLIA5dWsAFE5sAAAA4jCB3wYJKoZIhvcNAQcGoIHRMIHOAgEAMIHIBgkqhkiG9w0BBwEwHgYJYIZIAWUDBAEuMBEEDJTa3W97-c0Mko1R7QIBEICBmiJagqp7Yqh8eqMwT8wwPs_1f_IyqTAQN3G_ZtxJgUQx950nEGba6XI4UwtRiyKBgi4rPDT_J6n3M-zOwcUAjw7YmKn7b0hoJerLoPk8uA1QnkE8fwqn1OOeQ6drdntavep6pRiVu3aQbEC8lm5kEEbb6QNT4gUzxxj2ytzvyzKfAgRVD4TLZzF8IMbaUECKGVnOZP3tUdLrq_o= Text: Availability: 1 Value: <anid>AN0187498055;nmo01aug.25;2025Aug26.02:35;v2.2.500</anid> <title id="AN0187498055-1">The Meeting of Old Friends: Exploring the Art-Science Dynamic in the Context of Astronomy and Astronomy Education </title> <p>For millennia, the awe and wonder of the night sky has captivated and inspired humans to explore some of the most fundamental mysteries of the Cosmos through different perspectives and disciplines. Astronomy as a field of inquiry exemplifies a synergy of disciplines, a synergy that is more often tacit. Over the years, education and educational reforms have evolved into creating demarcated subjects. While this is understandable from a technical perspective, it delimits and misrepresents the breadth of research contributing to the field and its wider implications. This applies to ways that astronomy relates to the STEM disciplines, but more widely to art and science interactions. One of the unfortunate implications of this is that students are not able to fully appreciate the fact that exploration, solving problems and development of astronomical knowledge require the synergetic interaction between knowledge and skills from a range of disciplines. In order to highlight the potential for interdisciplinary synergies, this paper explores one of the most ancient of disciplinary synergies, that of art and science, in the context of astronomy. Through the analysis of various astronomical art-science projects, the aim is to theoretically characterise this synergy through the lens of social semiotics and its associated constructs. The proposed theoretical characterisation is used to provide examples of how this synergy can be productively realised in the context of the classroom.</p> <p>Keywords: Astronomy; Astronomy education; Art-science; Social semiotics; Aesthetics</p> <p>Copyright comment Springer Nature or its licensor (e.g. a society or other partner) holds exclusive rights to this article under a publishing agreement with the author(s) or other rightsholder(s); author self-archiving of the accepted manuscript version of this article is solely governed by the terms of such publishing agreement and applicable law.</p> <hd id="AN0187498055-2">Introduction</hd> <p>Let us start with a provocation: 'What are the subjects in education that promote the holistic development of a disciplined thinker?' It could be argued that the 'answer' to this question is dependent on the context, era and perhaps to a degree the sociopolitical climate. However, in the spirit of exploration, let us begin by examining and unpacking one of the most ancient of disciplinary synergies—art and science. In doing so, let us support this provocation with some framing questions to help guide the unpacking of the art-science synergy: What knowledges can be associated with art? Can art reflect science knowledge? Can art and science disciplinary knowledges intersect? Can we learn science from art? Can science be also art?</p> <p>Art and the sciences are stereotypically seen as demarcated camps, evident for instance in the way universities place these disciplines in different faculties, especially in the case of physical sciences. This demarcation perhaps has its roots in the work of Immanuel Kant and his categorisation of the fields Pure reason, Practical reason and Aesthetics (Kant, [<reflink idref="bib38" id="ref1">38</reflink>], [<reflink idref="bib39" id="ref2">39</reflink>], [<reflink idref="bib40" id="ref3">40</reflink>]). The seminal work of C.P. Snow <emph>The Two Cultures and the Scientific Revolution</emph> (Snow, [<reflink idref="bib94" id="ref4">94</reflink>]), highlighted how there is a cultural divide between science and art. Yet, if one were to look back to ancient times and across cultures, this demarcation was not evident (Lehman &amp; Weinman, [<reflink idref="bib48" id="ref5">48</reflink>]; Seldon &amp; Abidoye, [<reflink idref="bib91" id="ref6">91</reflink>]), especially in the context of astronomy (North, [<reflink idref="bib63" id="ref7">63</reflink>]).</p> <p>Science comes from the Latin <emph>Scientia</emph>, which means knowledge. However, some scholars propose that the product of science is knowledge (e.g. Moravcsik, [<reflink idref="bib61" id="ref8">61</reflink>]), which is based on a specific definition of science—as a 'discipline'. This is taken to mean, by many scholars, that knowledge is exclusively the product of science. In German, the word <emph>Wissenschaft</emph> is much closer to original Scientia, and encompasses the pursuit of knowledge as the province of all disciplines. A discipline, in this sense, refers to a particular type of knowledge, particular types of problem solving and knowledge-creation practices, and different forms of evidence. Therefore, opening up an analysis of the art-science synergy is productively informed by a widened definition of 'scientia' as the basis of science disciplinary knowledge.</p> <p>More so than science, the complexity of the discipline of art is evident from the extensive efforts that have tried to define art (e.g. Beardsley, [<reflink idref="bib10" id="ref9">10</reflink>]; Davies, [<reflink idref="bib17" id="ref10">17</reflink>]; Eaton, [<reflink idref="bib19" id="ref11">19</reflink>]; Kamber, [<reflink idref="bib37" id="ref12">37</reflink>]; Lopes, [<reflink idref="bib54" id="ref13">54</reflink>]; Margolis, [<reflink idref="bib57" id="ref14">57</reflink>]; Stecker, [<reflink idref="bib95" id="ref15">95</reflink>]). In the context of this study, it is more pertinent to get a sense of interplay of the characteristics of the art-science synergy, than a definition of each. In pursuing this interplay, the focus of this paper is on visual arts in the first instance, although the analysis is pertinent to various other forms such as performance.</p> <p>Root-Bernstein ([<reflink idref="bib79" id="ref16">79</reflink>]), argues that 'science strives for an objective consensus, art strives for subjective individualism' (p.50). However, while this may be the ideal, the reality is that an objective consensus in science is not always the case, because working scientists are humans, with their own biases (although they are trained to control them), subjective individualism, imaginations, passions and creative approaches. As has been convincingly demonstrated by science studies scholars (e.g. Latour, [<reflink idref="bib46" id="ref17">46</reflink>]; Latour &amp; Woolgar, [<reflink idref="bib45" id="ref18">45</reflink>]), the construction of scientific knowledge involves cultural practices and the knowledge must be viewed as provisionally rather than absolutely objective. Haraway ([<reflink idref="bib32" id="ref19">32</reflink>]) identifies situated knowledges and partiality of perspectives as characterising a more defensible version of objectivity that applies to all knowledge systems, but especially science. There are many examples from astronomy that highlight the complexities of establishing an objective consensus, a few include: Geocentric versus Heliocentric solar system models (North, [<reflink idref="bib63" id="ref20">63</reflink>]), Steady State versus Expanding Universe (Bondi &amp; Gold, [<reflink idref="bib11" id="ref21">11</reflink>]; Lemaître, [<reflink idref="bib50" id="ref22">50</reflink>]; Lemaître &amp; Eddington, [<reflink idref="bib51" id="ref23">51</reflink>]; Peebles, [<reflink idref="bib68" id="ref24">68</reflink>]), changing views the place of the Milky Way in the Universe (Shapley &amp; Curtis, [<reflink idref="bib92" id="ref25">92</reflink>]), the methodological controversies of the Hubble Parameter (e.g. Bahcall, [<reflink idref="bib9" id="ref26">9</reflink>]; Tammann, [<reflink idref="bib97" id="ref27">97</reflink>]; Trimble, [<reflink idref="bib98" id="ref28">98</reflink>]; van den Bergh, [<reflink idref="bib103" id="ref29">103</reflink>]; Wolchover, [<reflink idref="bib110" id="ref30">110</reflink>]; Wong et al., [<reflink idref="bib111" id="ref31">111</reflink>]) or recent debates on the geometry of the Universe (e.g. Di Valentino et al., [<reflink idref="bib18" id="ref32">18</reflink>]; Efstathiou &amp; Gratton, [<reflink idref="bib20" id="ref33">20</reflink>]; Park &amp; Ratra, [<reflink idref="bib67" id="ref34">67</reflink>]). To highlight the nature of the limits to objectivity let us take the example of the Geocentric vs. Heliocentric debate, which took over two millennia for an 'objective' consensus to be achieved. If a person stands outside and is asked to determine based on what they observe whether the Earth or the Sun is the centre of Solar System, they will most certainly conclude that the Earth is the centre. The Sun rises in the East, sets in the West, the Moon and the planets do the same, all 'following' the path of the Sun in the sky. A person does not sense that they are moving, so the Earth must be still. Only with methodical and more accurate observational evidence (driven by technological developments) can the evidence be made to support the proposal that the Sun is the centre. Even during the time when the Geocentric model was the objective consensus, there were people who thought it was not an accurate representation of nature (North, [<reflink idref="bib63" id="ref35">63</reflink>]).</p> <p>These tensions and debates indicate that the ideal of objectivity in science is myth; however, they demonstrate that developing knowledge in science is much more than the end-product of knowledge and objective consensus. It is proposed that the lack of 'objectivity' relates both to the inventive and culturally constructed nature of models, and the layered theoretical understandings that can attach to any one phenomenon. Firstly, the process of science is as important as the end result. Secondly, science is a human endeavour and is influenced by various aspects of human nature (imagination, creativity, curiosity, exploration, etc.) that are held to be characteristic of and innate to arts-based practices.</p> <p>Art and science have characteristics unique to each discipline. Stereotypically, art is considered to be characterised as driven by subjectivity and emotion, while science is driven by objectivity and data (Sinatra et al., [<reflink idref="bib93" id="ref36">93</reflink>]). However, through a more overarching lens, art and science have key similarities. These include, but are not limited to, observation, creative and critical thinking, exploration, experimentation, aesthetic experiences (both negative and positive), visual thinking, recognizing patterns and manipulations of data and media (Root-Bernstein &amp; Root-Bernstein, [<reflink idref="bib81" id="ref37">81</reflink>]). Both art and science place a premium on imagination and reasoning, which inspires us to explore, for instance, the mysteries of the Cosmos and our place within the Cosmos, providing us with a Cosmic Perspective. From this perspective, a clear distinction between art and science is not justified or sustainable (e.g. Root-Bernstein, [<reflink idref="bib78" id="ref38">78</reflink>], [<reflink idref="bib79" id="ref39">79</reflink>]). We propose that the artist's laboratory and the scientist's studio, or stereotypically vice-versa, are places where open-ended inquiry through a continuous process of thinking and doing forms the foundation of building knowledge.</p> <hd id="AN0187498055-3">Culture in Art-Science Synergy</hd> <p>A core foundation of the art-science synergy in relation to astronomy is the strong cultural connections humans have to the cosmos. Every culture around the world has some connection to the night sky. Furthermore, cultural-artistic practices around the world draw on this connection. Therefore, one of the key strengths of the art-science synergy is the ability to explore the interaction between these cultural perspectives and the insights generated by scientific advances.</p> <p>This cultural lens underpins artistic exploration of the synergies between indigenous and non-indigenous artistic and scientific knowledge traditions, highlighting shared perspectives of the night sky and the Cosmos at large. One example of this was <emph>Ilgarijiri—Things Belonging to the Sky</emph>, an art exhibition resulting from group activities between indigenous artists (Yamaji Art) and astronomers (ICRAR), who 'came together to explore different understandings of the night sky and the Universe' (Ilgarijiri, [<reflink idref="bib36" id="ref40">36</reflink>]). These shared experiences inspired over 100 paintings that connected the various perspectives of the Universe. The importance of culture in astronomy from an educational context has been demonstrated by Salimpour and Fitzgerald ([<reflink idref="bib87" id="ref41">87</reflink>]), who argue that astronomy connects us across cultures and geographic boundaries, but also that both art and science have their own distinct disciplinary cultures. Understanding the intersection of these disciplinary cultures provides a starting point to realising such disciplinary synergies.</p> <hd id="AN0187498055-4">Research Aim</hd> <p>Studies focussing on exploring the intersection of art and astronomy from theoretical or pedagogical lenses are slim. However, there has been some work done in the context astronomical colour imaging (English, [<reflink idref="bib22" id="ref42">22</reflink>]; Rector et al., [<reflink idref="bib76" id="ref43">76</reflink>]; Salimpour, [<reflink idref="bib84" id="ref44">84</reflink>], [<reflink idref="bib85" id="ref45">85</reflink>], [<reflink idref="bib86" id="ref46">86</reflink>]); various programs like NOVAS (NASA Opportunities in Visualization, Art and Science) (Zevin et al., [<reflink idref="bib114" id="ref47">114</reflink>]), Rising Stargirls (Wade, [<reflink idref="bib106" id="ref48">106</reflink>]), AstroArts (AWB, [<reflink idref="bib8" id="ref49">8</reflink>]) and other miscellaneous efforts by individuals and organisations. Therefore, there is a rich opportunity to better explore and characterise the art-astronomy synergy to provide a robust literature base to inform teaching and learning. Based on the discussions presented above, this paper aims to explore and unpack the art-science synergy to characterise its nature and to determine how such a synergy could manifest in the classroom in the context of astronomy education. This aim is guided by the research questions:</p> <p></p> <ulist> <item> RQ1: What is the nature of art-science synergies in astronomy, from art and from science disciplinary perspectives?</item> <p></p> <item> RQ2: What different inter-disciplinary relationships are evidenced in astronomical art-science investigations?</item> <p></p> <item> RQ3: How can art-science synergies be effectively realised in classroom teaching and learning in astronomy?</item> </ulist> <hd id="AN0187498055-5">Methodology</hd> <p>This study uses a case study approach (Merriam, [<reflink idref="bib60" id="ref50">60</reflink>]; Yin, [<reflink idref="bib113" id="ref51">113</reflink>]) to perform a qualitative analysis of different dimensions of the art-science synergy in astronomy.</p> <p>The analysis process involved in the first stage identifying various visual art-science projects that have an astronomical theme. We focused particularly on art that did not include narrative (such as film) in order to allow for a sharper analysis. It should be noted that not all projects are archived or have a digital presence; furthermore, some are only present for the duration the project in an exhibition space and are then dismantled. This at times ephemeral nature of certain projects makes the process of doing a systematic survey challenging to say the least. The search was limited to those projects that had some form of digital footprint that allowed details of the projects to be gathered for analysis. The search, while not exhaustive, was pursued until all projects that had a digital footprint were found, covering a variety of media and contexts.</p> <p>The projects were then categorised based on the astronomy topic (for example: dark matter, stellar evolution, seasons), and also the type of art/medium (for example:, painting, drawing, etc.). This provides a way to explore the distribution of the various types of projects. The astronomical topic categorisation was then refined to overarching astronomy themes, for example, dark matter, evolution of the universe, etc., were re-categorised as Cosmology. The next stage involved identifying the various key moves that translated and incorporated the disciplinary science knowledge into the artwork. These moves were achieved by simplification or a combination.</p> <p>The case studies were selected based on the availability of information to enable a semiotic analysis of the project, the author's experience with the case studies and to show a diversity of projects. The case studies also showed very different manifestations of the art-astronomy synergy: a scientist's work (re-)interpreted and juxtaposed into art; an artist drawing on science to convey both emotional and visual representations; artist in residence at a large international science facility and a personal case of a scientist bringing their discipline are perspectives into art.</p> <hd id="AN0187498055-6">Conceptual Framework</hd> <p>This project is theoretically grounded in the work of Peirce and his conceptualisation of semiotics from the lens of pragmatism (Peirce, [<reflink idref="bib69" id="ref52">69</reflink>], [<reflink idref="bib70" id="ref53">70</reflink>], [<reflink idref="bib71" id="ref54">71</reflink>]). According to Peirce's framing, meaning-making is an interplay between the sign (representamen), object (referent) and the meaning associated with this interaction (interpretant). From a disciplinary perspective, art and science each have their own semiotic system unique to the discipline. These semiotic systems are comprised of various semiotic representational resources (e.g. images, symbols, models, etc.) which are at the heart of disciplinary discursive practices. We argue, however, that at the heart of art-science synergies is an overlap of their disciplinary semiotic systems. To better understand this overlap, we can consider how representations are mobilised in each of the disciplines through the lens of social semiotics.</p> <hd id="AN0187498055-7">Social Semiotics</hd> <p>A key feature for analysis of astronomical art-science synergies are the representations that serve both as a product and a tool in the process of knowledge construction (Salimpour et al., [<reflink idref="bib88" id="ref55">88</reflink>]). Disciplinary representations or signs (encompassing words, images, drawings, paintings, objects, gestures) have meanings that are specific to the disciplinary community and context in which they serve as reasoning and communication tools. One approach to exploring representations and the construction of representations is to use the theoretical framework of social semiotics (e.g. Airey &amp; Eriksson, [<reflink idref="bib5" id="ref56">5</reflink>]; Airey &amp; Linder, [<reflink idref="bib6" id="ref57">6</reflink>]; Salimpour et al., [<reflink idref="bib88" id="ref58">88</reflink>]; Hodge &amp; Kress, [<reflink idref="bib34" id="ref59">34</reflink>]; Kress, [<reflink idref="bib43" id="ref60">43</reflink>]; Peirce, [<reflink idref="bib69" id="ref61">69</reflink>]; van Leeuwen, [<reflink idref="bib104" id="ref62">104</reflink>]). Social semiotics concerns the disciplinary and cultural construction, and interpretation of signs. Here, we use it as a framework to unpack how the meaning-making process manifests in astronomical art-science synergies.</p> <p>Representations (which includes signs) are created and communicated as part of the knowledge building processes characteristic of a community or a discipline, and as such are a semiotic resource that a community draws on for making and sharing meaning (e.g. Airey &amp; Linder, [<reflink idref="bib6" id="ref63">6</reflink>]; Kress, [<reflink idref="bib43" id="ref64">43</reflink>]). This paper follows the work of Salimpour ([<reflink idref="bib86" id="ref65">86</reflink>]) where social semiotics is used as an overarching conceptual framework to bring together the constructs of disciplinary discernment (e.g. Eriksson, [<reflink idref="bib23" id="ref66">23</reflink>]), affordance (e.g. Airey, [<reflink idref="bib4" id="ref67">4</reflink>]; Airey &amp; Eriksson, [<reflink idref="bib5" id="ref68">5</reflink>]; Prain &amp; Tytler, [<reflink idref="bib74" id="ref69">74</reflink>]; Gibson, [<reflink idref="bib29" id="ref70">29</reflink>]; Kress, [<reflink idref="bib44" id="ref71">44</reflink>]), aesthetics (e.g. Wickman, [<reflink idref="bib109" id="ref72">109</reflink>]) and representation construction (e.g. Tytler et al., [<reflink idref="bib102" id="ref73">102</reflink>]).</p> <p>Representations created in art or science have particular affordances in that particular modes open up new ways of seeing and exploring phenomena (Gibson, [<reflink idref="bib29" id="ref74">29</reflink>]; Norman, [<reflink idref="bib62" id="ref75">62</reflink>]). For instance, a diagram in science forces attention on spatial and visual relations that can be unexamined in text, suggesting further questions and reasoning moves, while colour in visual art opens up possibilities for exploring affect. These affordances can also have disciplinary characteristics which are embedded in the representation by the creator of the representation (Salimpour, [<reflink idref="bib86" id="ref76">86</reflink>]). The layers of meaning embedded in such representations often require a degree of disciplinary discernment to be unpacked and appreciated (Salimpour et al., [<reflink idref="bib86" id="ref77">86</reflink>]; Eriksson, [<reflink idref="bib23" id="ref78">23</reflink>]). Often, these disciplinary characteristics are <emph>appresented</emph>—hidden information that is tacit (Airey, [<reflink idref="bib3" id="ref79">3</reflink>]; Linder, [<reflink idref="bib53" id="ref80">53</reflink>]; Marton &amp; Booth, [<reflink idref="bib58" id="ref81">58</reflink>]). The term <emph>appresented</emph> is explained by Marton and Booth ([<reflink idref="bib58" id="ref82">58</reflink>]) as 'That which is not seen, is not even visible is appresented' (p.100). Airey ([<reflink idref="bib3" id="ref83">3</reflink>]) drawing on the work of Marton and Booth, defines <emph>appresentation</emph> as the 'mechanism by which aspects which are not technically discernible in a given semiotic resource are "read into" the semiotic resource—a necessary condition for a semiotic resource to acquire an appropriate, disciplinary meaning' (p.6), and 'ability to spontaneously infer the presence of further facets of a disciplinary way of knowing over and above those made available through the semiotic resource a student has been presented with' (p.59). Examples of <emph>appresentation</emph> are illustrated in the context of cosmology when representing the curvature of the space, and visualisations of the evolution of the Universe (Salimpour et al., [<reflink idref="bib88" id="ref84">88</reflink>]), and stellar lifecycles with the Hertzsprung-Russell diagram (Airey &amp; Eriksson, [<reflink idref="bib5" id="ref85">5</reflink>]).</p> <p>Prain and Tytler ([<reflink idref="bib74" id="ref86">74</reflink>]) regard affordances of particular representational modes as referring to the 'productive constraint' (p. 2769) these impose on reasoning and learning in the discipline. For example, the affordance of a graph is the reasoning about patterns and relationships it suggests and enables. Furthermore, representations carry with them both everyday aesthetic and disciplinary aesthetic invitations and experiences (Salimpour et al., [<reflink idref="bib88" id="ref87">88</reflink>]). The everyday aesthetic encompasses those responses to a representation where the 'reader' possesses limited disciplinary knowledge, whilst the disciplinary aesthetic can be appreciated and discerned by a 'reader' with a level of disciplinary knowledge. This distinction we regard as important for unpacking the relationships and distinctions between art and science representations.</p> <p>From a Peircean perspective, concepts in science are 'semiotic hybrids' (Lemke, [<reflink idref="bib52" id="ref88">52</reflink>]) whereby the key to semiosis (the process of meaning making) is the capacity to recognise, link and infer meanings across multiple representations in different modes, such as between material data sets and graphical or visual models based on these, or between visual symbols and conceptual references in an art work. This process labelled 'transduction' by Kress and van Leeuwen ([<reflink idref="bib42" id="ref89">42</reflink>], p. 39) and is central to the process of constructing the expanded meanings needed to work with science concepts (Kress, [<reflink idref="bib43" id="ref90">43</reflink>]; Svensson &amp; Eriksson, [<reflink idref="bib96" id="ref91">96</reflink>]). According to Kress ([<reflink idref="bib43" id="ref92">43</reflink>]), <emph>transduction</emph> is a form of <emph>translation</emph>—'a process where meaning is moved' from one mode to another, for example, speech to image, a process that can be referred to as a <emph>transductional move</emph> (Salimpour et al, [<reflink idref="bib88" id="ref93">88</reflink>]). Transduction could also be 'a shift from a semiotic resource to another, but also a shift from a semiotic system to another' (Svensson &amp; Eriksson, [<reflink idref="bib96" id="ref94">96</reflink>], p. 96). In visual arts, while concepts are not so explicitly defined or grounded in tangible evidence, nevertheless the meaning of an artwork involves this same semiotic hybridity, where colour, form and image are conscripted to generate disciplinary meaning, often drawing on metaphorical meanings that are open to disciplinary discernment. We argue that in art-science projects, representations can be conscripted across disciplines to create multiple, enriched meanings. For instance, colour and form in astronomical photographs can be conscripted for art disciplinary purposes, or in science for analytic purposes, but also are accessible at a less discerning level to an everyday aesthetic. Combined, this provides a means of enriching the meaning of the photograph for all.</p> <p>For decades, scholars have highlighted the innate and vital relationship that exists between science, art and aesthetics (e.g. Chandrasekhar, [<reflink idref="bib15" id="ref95">15</reflink>]; Flannery, [<reflink idref="bib28" id="ref96">28</reflink>]; Girod, [<reflink idref="bib30" id="ref97">30</reflink>]; Østergaard, [<reflink idref="bib65" id="ref98">65</reflink>]; Resnick et al., [<reflink idref="bib77" id="ref99">77</reflink>]; Weigand, [<reflink idref="bib107" id="ref100">107</reflink>]). The Persian philosopher and scholar Hossein Mohyeddin Elahi Ghomshei conceptualises the relationship as involving three types of flight: Flight to Knowledge, Flight to Beauty (Aesthetics) and Flight to Goodness. These flights are not mutually exclusive and exist as an interaction of the three. For example, knowledge and goodness have aesthetic qualities. 'Flight' as Ghomshei refers to is not merely being in a different environment, rather a different state of mind, and by extension having a different experience. These three flights are from the perspective of Ghomshei fundamental to being human. In looking at science from the flights of Ghomshei, we can propose that the practice and learning of science and art is not merely about the creation and transfer of knowledge or skills; rather, it is an experience (an aesthetic experience) in which to be immersed.</p> <p>Using case studies from both art-science projects and also art-science synergy in the classroom, we will demonstrate how the conceptual framework informs the unpacking of the various transductions, transformations, translations and aesthetic experiences which manifest in the astronomical art-science synergy.</p> <hd id="AN0187498055-8">Astronomical Art-Science Projects</hd> <p>Despite the stereotypical perception that science and art share no connection, at a professional level there is an increasing push towards tapping into the innate synergy that exists (Root-Bernstein, [<reflink idref="bib79" id="ref101">79</reflink>]). In recent years, this has gained momentum through efforts by various major research organisations to explore the opportunities opened up by bringing together artists and scientists, for example, CERN (Conseil Européen pour la Recherche Nucléaire), FermiLab, the Australian Network for Art and Technology, NASA (Art and Science), ESA (art&amp;science@ESA), SciArt Initiative (SciArt, [<reflink idref="bib90" id="ref102">90</reflink>]) and the Science Gallery which is a network of universities aimed at bringing together art and science into the public space. For example, CERN has since [<reflink idref="bib13" id="ref103">13</reflink>] hosted several variations of Artist-in-Residence program, which provides a context for nurturing the dialogues and interactions between artists and scientists at CERN. The aim of the residencies is to explore ideas from an interdisciplinary lens. The artist-in-residence approach is explored in the second case study.</p> <p>These efforts have been amplified by various solo and group exhibitions around the world. In the search for this study, over 250 astronomical art-science projects globally were identified. The projects exemplify not only this synergy between art and science synergy but also the personal collaborations between individuals working in different fields, bringing their knowledge and skills from each of their respective fields to enrich concepts in astronomy and open up new horizons for artists.</p> <p>In this section, we will use astronomical art-science project case studies to explore the exchange of perspectives from the lens of social semiotics.</p> <hd id="AN0187498055-9">Case Study 1: Night Skies: the Art of Deep Space</hd> <p>Astronomical imaging is a process that can serve as an example of the interaction between discernment, affordance, representation construction and aesthetics. This case study focuses on the curated exhibition <emph>Night Skies: The Art of Deep Space</emph> (Malin &amp; Slarke, [<reflink idref="bib55" id="ref104">55</reflink>]). David Malin is a photographic scientist-astronomer who is internationally recognised for his work in image processing and particularly astronomical image processing. His ground-breaking techniques in image processing have allowed scientifically valuable information to be extracted from images and creating three-colour images of astronomical objects by combining black and white (monochrome) images in different filters, that only allow specific wavelengths of 'light' (electromagnetic radiation) to pass through, each of which are a representation of the interaction of various physical and chemical processes (Fig. 1). The image created and particularly the colours used in such photographs is a representation of what your eyes would see if they were sensitive enough (Salimpour, [<reflink idref="bib84" id="ref105">84</reflink>]; Malin &amp; Murdin, [<reflink idref="bib56" id="ref106">56</reflink>]). Malin's techniques in image processing have led to the discovery of some very faint large-scale astronomical objects. Eileen Slarke is an internationally respected artist and sculptor, and former lecturer at University of New South Wales College of Fine Arts. Her work draws inspiration from history, heritage and the environment. Her work with Malin reflects a history of drawing inspiration from diverse sources, in this case pursued through astronomy.</p> <p>Graph: Fig. 1 Combining monochrome images to create colour image. Image credit: Saeed Salimpour</p> <p>Each of the images in the exhibition catalogue <emph>Night Skies: The Art of Deep Space</emph> (Malin &amp; Slarke, [<reflink idref="bib55" id="ref107">55</reflink>]) was accompanied by a visual arts and scientific commentary. An example of one of these commentaries is provided in Fig. 2.</p> <p>Graph: Fig. 2 An excerpt of visual arts and scientific commentaries from the exhibition catalogue for Night Skies: The Art of Deep Space (Malin &amp; Slarke, [<reflink idref="bib55" id="ref108">55</reflink>])</p> <p>The commentaries by Slarke and Malin reveal deep disciplinary knowledge, but also an everyday aesthetic that we see not only in the use of language, but also the visuals. For example, Malin writes: 'The soft red glow of the fluorescent hydrogen is evidence that there are young hot stars associated with the dusty clouds' (p. 28). Here, we see the interaction of disciplinary knowledge with regards to the radiation from the stars 'heating up' the clouds of hydrogen gas making them 'glow' in different wavelengths, particularly 656 nm, also called Hydrogen Alpha. Slarke writes: 'Although this image belongs to Gauguin in colour, in technique it belongs to the "pointillists", especially the work of Paul Signac and his Portrait of Felix Fénéon.' (p. 28). We see here not only a science disciplinary aesthetic (relating to the precision and communication of gaseous composition and the evidence this provides of stellar evolution in the nebula) but also an art disciplinary aesthetic in relating to historical reading of artistic trends and sensibilities. The semiotic modes of colour and form (dots), common to both art and science, serve distinctive aesthetic/conceptual purposes. We argue however that this shared semiotic potential enriches meaning that crosses these disciplinary boundaries. Further, it is not hard to be swept-up and immersed in the experience of these images by Malin or any astronomical image, even if the observer is not an artist or scientist, perhaps because we are simply human. The relatively uninformed everyday aesthetic can be read through both fields as well– the awe and wonder of space, and appreciation of the stunning image.</p> <p>Looking closely at each of these images, it is possible to discern multiple disciplinary meanings—through science the physical processes leading to the colours, the interpretation of stellar evolution—<emph>appresented</emph> (Linder, [<reflink idref="bib53" id="ref109">53</reflink>]) in the image. Knowledge and appreciation of the image construction processes, which also taps into aesthetic discernments in art, and the link back to art sign systems established through art history (e.g. Gauguin, Signac). We argue that in this process, the scientist operates also as an artist in constructing the image to tap into these art semiotic forms. The artist participates in the science-based image construction to further their own artistic explorations. The result is an expanded aesthetic and the conscription of semiotic elements across the disciplines.</p> <p>This semiotic conscription process is important given that an artist who represents the science, translates (and/or transducts) through a series of moves such as a <emph>simplification</emph> (Salimpour et al., [<reflink idref="bib88" id="ref110">88</reflink>]) of the concepts into whatever artwork the artist is creating. These transductional moves are also vital when scientists create representations for various audiences (their peers, the general public, students, etc.) (Salimpour et al., [<reflink idref="bib88" id="ref111">88</reflink>]).</p> <hd id="AN0187498055-10">Case Study 2: a Galaxy of Suns</hd> <p>This project is just one example of how various measurable scientific parameters are visualised using colour and sound. Using data from the HIPPARCOS (HIgh Precision PARallax COllecting Satellite) dataset, this project transducts physical parameters (location on the horizon, brightness, size, age, distance and colour), into audio and visual parameters (rhythm, pitch, volume, panning, colour and light intensity) (Fig. 3). This makes the data tangible in different modes, whilst creating 'performance', and communicating some aspects of the underlying science.</p> <p>Graph: Fig. 3 A Galaxy of suns. Image credit: Michaela Gleave</p> <p>One of the unique aspects of this project is that it allows the 'artwork' to be accessed by anyone, anywhere, as it uses the GPS coordinates of the user's mobile phone. Given that each user's location is different, each creates a different performance or artwork, therefore, each user has a different personal response/interaction with the artwork. This is interesting because there is an overlapping of different semiotic systems, allowing an interplay of the different aesthetics. The artist through transductional moves has used art disciplinary knowledge to provide a commentary on the scientific disciplinary knowledge, through this manipulation of shared semiotic forms. In a sense the artist is 'playing' with the science in provocative and interesting ways, giving each user a different aesthetic experience. We argue that in this case the science data and techniques provide the semiotic forms and transduction processes that drive the art disciplinary purpose, and that the art, through this commentary, expands the meaning of the HIPPARCOS dataset. There is an enrichment in both directions across the art-science boundary, made permeable through shared these semiotic elements.</p> <hd id="AN0187498055-11">Case Study 3: Artist in Residence CERN</hd> <p>Although CERN focuses on particle physics, the work that is done there has direct implications for astronomy and astrophysics (CERN Research, [<reflink idref="bib14" id="ref112">14</reflink>]) given that CERN is studying the fundamental building blocks of everything in the Universe, for example, the nature of Dark Matter, the early Universe and much more.</p> <p>This case study highlights how the different semiotic systems (and their related resources) are brought together, and the transduction that can occur within art-science collaborative projects. The CERN Artist-in-residence provides a context for artists to learn about the science, and through transductional moves re-interpret and comment on the underlying scientific concepts. The program also allows scientists to gain insight into arts-based practices, which have similarities with the epistemic practices of science: problem-solving, reasoning, creative thinking (e.g. Salimpour, [<reflink idref="bib86" id="ref113">86</reflink>]; Tytler et al., [<reflink idref="bib102" id="ref114">102</reflink>]; Lehrer &amp; Schauble, [<reflink idref="bib49" id="ref115">49</reflink>]). The range of projects that have emerged from the residencies range from the visual to the auditory to performances (CERN, [<reflink idref="bib13" id="ref116">13</reflink>]), and highlight the diverse ways semiotic systems can overlap and be conscripted to expand the range of meanings in each. They also demonstrate the interaction of the disciplinary aesthetics of art and science. One example is the work of Nikos Papadopoulos, where during his time at CERN he explored the epistemic practices of scientists and artists. Through discussions with Yannis Florakis, a theoretical physicist at CERN, he explored how each discipline understands notions of symmetry, beauty, the role of intuition and the process of research compared to creating an artwork. The outcome of this dialogue was a book, the <emph>Allure of Obsession</emph>, and a solo exhibition, <emph>The Garden of Particles</emph> (Papadopoulos, [<reflink idref="bib66" id="ref117">66</reflink>]). This artist highlights that 'that all human work is judged and evaluated by a community', echoing the point about the cultural construction of disciplinary knowledge in both art and science.</p> <p>Again, the art-science synergy can be seen through the overlapping of disciplinary semiotic forms. The garden of particles takes the scientific motif of bubble chamber tracks and explores this in different media (Fig. 4). Here, as with Malin and Slarke, the artist takes a semiotic form from science and makes a transductional move that gives it new disciplinary meanings, but in this case extending these scientific constructions in ways that extend the meaning to reference the epistemic practices of CERN scientists, and also the epistemic practices of art in playing with and enriching the personal meaning of these tracks through attention to form and shape, and metaphorical allusion. The semiotic extension represented by the artist's work signals an artistic disciplinary discernment, different to but drawing on the semiotic resources of the scientific community. The artistic conscription of scientific representational forms is intended to widen the meaning of the scientific artefacts and practices, and could be seen as an extension of the languages of science (Tytler et al., [<reflink idref="bib101" id="ref118">101</reflink>]).</p> <p>Graph: Fig. 4 Part of the work in progress for the exhibition 'Garden of particles'. (Middle): a sewing needle on aluminium foil. (Left). A scientist working on drying the chamber film. Image credit: (Papadopoulos, [<reflink idref="bib66" id="ref119">66</reflink>])</p> <hd id="AN0187498055-12">Case Study 4: Feynman the Artist</hd> <p>This next case study highlights how the semiotic system crossovers between disciplines can provide disciplinary experts different ways of reflecting on and communicating the deep aesthetic experiences of their respective disciplines. As recounted by Feynman: 'I wanted very much to learn to draw, for a reason that I kept to myself. I wanted to convey an emotion that I have about the beauty of the world. It's difficult to describe because it's an emotion. It's analogous to the feeling one has in religion that has to do with a god that controls everything in the whole universe: there's a generality aspect that you feel when you think about how things appear so different and behave so differently are all run "behind the scenes" by the same organization, the same physical laws. It is an appreciation of the mathematical beauty of nature....', and goes on to highlight '...a realization that the phenomena we see result from the complexity of the inner workings between atoms; a feeling of how dramatic and wonderful it is. It's a feeling of awe—of scientific awe—which I felt could be communicated through a drawing to someone who had also had this emotion. It could remind him, for a moment, of this feeling about the glories of the Universe.' (Feynman, [<reflink idref="bib25" id="ref120">25</reflink>], p. 18). For Feynman, the process of drawing is not only used as a way to communicate the emotions—awe and wonder—associated with scientific disciplinary knowledge, but subconsciously it is used to play with scientific ideas. The latter point is best captured by another example in the context of one of Feynman's drawings 'The Magnetic Field of the Sun'. Owing to Feynman's understanding of how magnetic field lines are vital to solar prominences and flares, he began developing a technique for drawing magnetic field lines and saw a similarity between them and the flowing hair of a girl. As he recounts: 'I wanted to draw something beautiful that no artist would think to draw'. He used a photograph of solar prominences taken by the National Solar Observatory in Colorado as the basis for his idea of the drawing (Fig. 5) (p. 25). Feynman's case is interesting in that here is a scientist spanning the art-science boundary rather than an artist looking across the divide.</p> <p>Graph: Fig. 5 Image of solar prominence taken by the National Solar Observatory, used here to show what a prominence looks like. Image credit: NSO</p> <p>These examples highlight the interaction of semiotic systems (and resources) to convey the emotions, sensibilities and the aesthetic experiences of the scientific discipline.</p> <p>Feynman's playing with drawing fed into an art aesthetic and semiotic system, but also enriched his scientific practices, perhaps in some way influencing his work in the development of the singular 'Feynman diagrams'. Feynman diagrams have become vital tools in the field of particle physics, visualising particle interactions and allowing complex calculations to be done (Feynman, [<reflink idref="bib24" id="ref121">24</reflink>]). This playing with representational forms is thus the province of both the artist and the scientist.</p> <hd id="AN0187498055-13">Astronomical Art-Science in the Classroom</hd> <p>The above case studies highlight the richness of the interaction of knowledge and aesthetics made possible through overlap of semiotic systems from the different disciplines. The art-science crossovers in astronomy and art practice made apparent through the lens of social semiotics, also informs how such synergies can be realised in the classroom.</p> <p>There are two main, contrasting approaches to the art-science synergy: (<reflink idref="bib1" id="ref122">1</reflink>) art is regarded 'as a "tool" for making "the rational" science education more creative.'; (<reflink idref="bib2" id="ref123">2</reflink>) there is acknowledgement of 'similarities between art and science, emphasising science as an aesthetic and creative activity, both in knowledge development and in the nature of the knowledge itself.' (Kind &amp; Kind, [<reflink idref="bib41" id="ref124">41</reflink>], p. 6). Scholars have proposed that creativity and aesthetics have the potential to provide a bridge between art and science (Kind &amp; Kind, [<reflink idref="bib41" id="ref125">41</reflink>]; Ødegaard, [<reflink idref="bib64" id="ref126">64</reflink>]). Ødegaard ([<reflink idref="bib64" id="ref127">64</reflink>]) argues that despite the fact that 'Science is ideally rational and anti-authoritarian by nature. It also relies heavily on creativity and imagination.' (p. 96). As noted by Kind and Kind ([<reflink idref="bib41" id="ref128">41</reflink>]), creativity in science is not merely 'whatever scientists do to create new knowledge.' (p.26). Tytler and Prain ([<reflink idref="bib100" id="ref129">100</reflink>]), when discussing the role of drama in this synergy highlight that 'both disciplines create, reason about, and communicate knowledge and meaning through the inventive development and use of sign systems, infused with disciplinary aesthetics/values.' (p.1). The richness in the range of perspectives in the art-science synergy and its relevance to classroom practices (McArdle and Tytler, [<reflink idref="bib59" id="ref130">59</reflink>]; Tytler and Prain, [<reflink idref="bib99" id="ref131">99</reflink>]) is captured through proceedings from <emph>SPECTRA 2012: images and data in art/science</emph>, which was the outcome from an artist-in-residence program (Rosengren &amp; Kennedy, [<reflink idref="bib82" id="ref132">82</reflink>]).</p> <p>The next set of case studies provides examples of how the art-science synergy can be implemented in the classroom using astronomy as the context. The case studies are selected based on the authors' experience within their own teaching practice, and working with teachers using these approaches.</p> <p>Before delving into the case studies, it is important to highlight how science and art are perceived in the context of the classroom. The popular image of science and art, which is often perpetuated in schools, is that science deals with objective observations whereby everyone arrives at the same 'correct' answer using the 'scientific method', whilst art is subjective and there is no 'correct' answer, and things are open to interpretation. This is quite simplistic and inaccurate, as it does not capture the true essence or the reality of either discipline. As practising scientists we know that a ritualised 'scientific method' is a myth (Conant, [<reflink idref="bib16" id="ref133">16</reflink>]; Woodcock, [<reflink idref="bib112" id="ref134">112</reflink>]). Often, schools ritualise the scientific method as a sequence of steps that if followed leads to good science and provides the answer. The same is true for art, which is generally characterised as antithetical to science, being personal and creative, with its epistemic practices not generally recognised. These simplifications of art and science ignore the practices the disciplines share which are fundamental to disciplinary processes of exploration and discovery. These include representational construction, refinement and interpretation, playing with ideas, abductive reasoning, intuition, creativity, spontaneity, collaboration, aesthetic experiences and learning from mistakes.</p> <hd id="AN0187498055-14">Educational Case Study 1: Astronomical Colour Imaging in the Classroom</hd> <p>This case study draws on the earlier case study: <emph>Night Skies: The Art of Deep Space</emph> (Malin &amp; Slarke, [<reflink idref="bib55" id="ref135">55</reflink>]). One of the strengths of astronomy is the endless supply of awe-inspiring, majestic images of the night sky and various astronomical objects. These images and the data underlying them have become increasingly accessible given developments in technology and reduction in cost, allowing students with internet connection to access research-grade robotic telescopes (e.g. Fitzgerald et al., [<reflink idref="bib26" id="ref136">26</reflink>]; Gomez &amp; Fitzgerald, [<reflink idref="bib31" id="ref137">31</reflink>]).</p> <p>Astronomical colour imaging has unique characteristics that place it at the aesthetic interface between visual arts and science (Salimpour, [<reflink idref="bib84" id="ref138">84</reflink>]; English, [<reflink idref="bib22" id="ref139">22</reflink>]; Rector et al., [<reflink idref="bib76" id="ref140">76</reflink>]), and enable explorations of notions of distinctive disciplinary discernment and aesthetics in astronomy (Salimpour et al., [<reflink idref="bib88" id="ref141">88</reflink>]; Eriksson, [<reflink idref="bib23" id="ref142">23</reflink>]) and visual arts (Kress &amp; van Leeuwen, [<reflink idref="bib42" id="ref143">42</reflink>]). Most importantly, astronomical colour imaging provides an entry for students to engage with contemporary astronomical research and data while attending to an art aesthetic. They can appreciate the process of how data is not only represented as graphs, but images which have an important role in allowing us to understand the Universe. Making an astronomical colour image requires drawing on disciplinary content and skills from both visual arts and science, from colour theory to the representation of fundamental physical processes in the Universe.</p> <p>As noted previously, astronomical colour image processing at its most basic involves digitally combining black and white images taken in different filters using an image processing program (Adobe Photoshop, GIMP, PIXLR, etc.). Although there are also much more advanced image processing programs that are in the domain of serious astrophotographers (Pleiades Astrophoto, [<reflink idref="bib73" id="ref144">73</reflink>]).</p> <p>The process of creating an astronomical colour image is as much science as it is art, depending on the context and purpose of the image (English, [<reflink idref="bib21" id="ref145">21</reflink>]; Salimpour, [<reflink idref="bib84" id="ref146">84</reflink>], [<reflink idref="bib85" id="ref147">85</reflink>]). The choice of the colour palette, the various nuances of digital image processing, the degree of disciplinary understanding and the goal of the image in emphasising distinct astronomical features all influence the final result.</p> <p>Astronomical colour imaging in the classroom has been demonstrated to provide students with an opportunity to engage both with authentic practices of science (Fitzgerald et al., [<reflink idref="bib26" id="ref148">26</reflink>]; Salimpour, [<reflink idref="bib85" id="ref149">85</reflink>]), and also the visual arts dimensions (Salimpour, [<reflink idref="bib85" id="ref150">85</reflink>]; Salimpour et al., [<reflink idref="bib88" id="ref151">88</reflink>]). Students engage directly with the process from using the telescopes to gather the data, through to creating a colour image. Through this process, students explore disciplinary knowledge from both art and science. When a student engages in astronomical colour imaging, a certain degree of science disciplinary knowledge is required, for example, how to pick an object to image, the workings of a telescope and its associated instruments (Camera, Filters), the apparent motions of objects in the sky, the nature of the object, the length of exposure to use and various others. Once the student receives the data, the next task is examining the data to ensure it has the required quality. Next, the student has to make some decisions about how to combine the images, or rather the colours to assign to the different filters. In this stage, there is an interaction between the disciplinary knowledge from art and science, and also their respective aesthetics. The choice of the colour palette can used to highlight some key physical processes such as the elemental structure of nebular features, aesthetically engage the viewer with the image, or both (Salimpour, [<reflink idref="bib84" id="ref152">84</reflink>]; Rector et al., [<reflink idref="bib76" id="ref153">76</reflink>]). Therefore, a level of scientific disciplinary knowledge and discernment is required to understand why the image is bright in a particular filter, and the wavelength (wavelength range) associated with a filter. A level of artistic disciplinary knowledge and discernment is required to select a combination that evokes particular perceptions and feelings about the object. The semiotic systems of colour combination are common to both art and science, but point respectively, through transductive moves, to insights into elemental composition, or to the creation of a perceptual response.</p> <p>Let us take the example of the Lagoon nebula (M8) imaged using narrowband filters: Hydrogen Alpha (Hα)(~ 656 nm), Oxygen (OIII) (~ 500 nm) and Sulphur (SII) (~ 674 nm) (Fig. 6). Hα is in the red part of the electromagnetic spectrum, OIII is in the blue-green part and SII is also in the red part. It is noticeable that the object is brighter in the Hα. Therefore, when combining images, a student has to draw on science disciplinary knowledge to understand what is happening in the image, next, to decide what colours to use to represent the three filters, and how to tweak the colours to bring out particular features in the image. These processes involve a mix of disciplinary arts knowledge, disciplinary science knowledge, aesthetics and experimentation. There are various combinations, for example, Hα can be assigned green, OIII blue and SII red; this is an RGB (Red, Green, Blue) mapping (Fig. 6). The object could be bright in the Hα, and so the image will have a green hue, and this can be modified depending on the aim of the image. However, a student may decide to combine or mix filters, emphasising different combinations of elements. Each of the different mappings allow various features to become prominent. For example, R = 0.3Hα + 0.7SII, G = 0.2OIII + 0.6Hα + 0.2SII and B = OIII, or R = Hα, G = OIII and B = OIII (Fig. 7). There are many choices, therefore, within the scientific semiotic system, that allow flexibility to express feeling and perception.</p> <p>Graph: Fig. 6 Colour image of the M8 lagoon nebula created by combining images in narrowband using a RGB mapping. Image credit: Saeed Salimpour</p> <p>Graph: Fig. 7 Colour image of the M8 lagoon nebula created by combining images in narrowband using a different colour mapping. Image credit: Saeed Salimpour</p> <p>Astronomical colour imaging is flexible enough to allow teachers to incorporate it within existing teaching sequences either in art or science, to suit the aim of their teaching. The key aspect here is tapping into the art-science crossovers that allow students to experience how knowledge from different disciplines can be harnessed to explore distinctive aspects of astronomical objects. Students, in the process of creating astronomical colour images, come to understand the creativity involved in scientific data generation and analysis, and gain experience of colour in an image as a semiotic resource that can be interpreted through the lens of art and science, to the advantage of both. For science, this involves discernment in aligning of the image features with astronomical processes. For art, it may involve creating a work that uses colour to elicit a dramatic response of awe and wonder. Such a response is indeed part of every astronomer's experience, and can be viewed as an aspect of an expanded language of science (Tytler et al., [<reflink idref="bib101" id="ref154">101</reflink>]). Here, we see how an overlap between the aesthetics of science, and of art, can enrich the practice of both.</p> <hd id="AN0187498055-15">Educational Case Study 2: Explaining Science with Art</hd> <p>As highlighted by research, scientists engaging with art and arts-based practices provides opportunities to explore different perspectives (e.g. Root-Bernstein et al., [<reflink idref="bib80" id="ref155">80</reflink>]). This case study echoes the work of Papadopoulos mentioned earlier, whose art explored the practices of CERN scientists through conscripting and re-inscribing discipline-specific semiotic resources to capture and interpret key aspects of scientists' practices and knowledge, creating these cross-disciplinary synergies.</p> <p>This case study of using art to explore scientific concepts involves the work of M. C. Escher, specifically Circle Limit IV. Escher's love for mathematics, and astronomy is manifested strongly in his works (Leahy, [<reflink idref="bib47" id="ref156">47</reflink>]). His use of patterns, the play on spatial relations, the simplicity, the complexity and the visual concoctions are accessible to everyone at some level. However, some of his works require a deeper level of disciplinary knowledge to unpack the concepts <emph>appresented</emph> in them—Circle Limit IV is one of those works (Fig. 8). Circle Limit IV, also called Angels and Demons, represents complex spatial and temporal relations encompassing the concepts of infinity, homogeneity, isotropy, centre, reference frames and expansion; all of which are intangible and counter intuitive in the context of cosmology. The artwork encompasses both mathematical and art disciplinary aesthetics.</p> <p>Graph: Fig. 8 Circle Limit IV (Heaven and Hell)—Escher (1960) (p. 210). Image photographed: Saeed Salimpour</p> <p>To an artist, the aesthetics would involve Escher's use of shape, form, patterns, geometry, symmetry, the hidden meaning, the skill and his intentions. Escher has conscripted the form of the Poincaré disk to enrich the meaning again showing overlap of semiotic forms (Fig. 9). To a cosmologist, the geometry in the artwork communicates ideas about the geometry of a Universe being finite but unbound. This geometry is in line with current measurements of the Cosmic Microwave Background (CMB) (Aghanim et al., [<reflink idref="bib2" id="ref157">2</reflink>]). The Universe appears to have a flat (Euclidean) geometry on small scales, a small section of an extremely large Universe with a hyperbolic geometry appears flat to those living within it. Looking towards the edge, it seems that the angels and demons get infinitely smaller, but there is a certain number of them (Fig. 10). This is only apparent for an observer who can explore the geometry from outside. From the perspective of the hyperbolic geometry, the angels and demons extended out to infinity. Therefore, whether something is infinite is related to the reference frame being used. Angels and Demons also represents another assumption in cosmology, which is that the Universe on large scales is isotropic (same in all directions) and homogenous (same at every location) (Ryden, [<reflink idref="bib83" id="ref158">83</reflink>]). An observer located within the Angels and Demons Universe would see that this assumption is valid. Only because Angels and Demons is observed from the outside does is appear invalid. Angels and Demons can also be used to spatially and temporally understand the CMB. The CMB is from a time when the Universe was denser and hotter. This is represented by the number density of the angels and demons as one looks further away from the centre towards the edges.</p> <p>Graph: Fig. 9 Poincaré disk. Image credit: Murdock Grewar, under CC License</p> <p>Graph: Fig. 10 Poincaré disk showing the number density increases to seeming infinity towards the circumference. Image credit: Murdock Grewar, under CC License</p> <p>Circle Limit IV is just one example of many that shows how aesthetics and creativity can be used to bridge art and science in teaching and learning in the classroom. It also demonstrates the transduction and translation of representations from one discipline to support understanding complex concepts in another discipline. Specifically, use of Escher in the classroom affords various opportunities for teaching and learning, for example:</p> <p></p> <ulist> <item> The basis for discussion about the geometry of the universe.</item> <p></p> <item> The intriguing art aesthetic—the careful and seemingly contradictory geometric arrangements could trigger a science aesthetic of fascination with the non-Euclidean nature of the Universe's geometry.</item> <p></p> <item> Using this semiotic cross-over opens up a fascination for students, which taps into the aesthetic of cosmologists, with the intriguing, unexpected but explicable geometry of the universe.</item> </ulist> <p>For his art, Escher has conscripted semiotic forms from mathematics, manipulating them for artistic purposes that play with the intrigue of counter-intuitive patterns enriched by metaphorical references. This intertwining of semiotic forms, triggering overlapping disciplinary aesthetic responses, we argue is central to these pedagogical purposes.</p> <hd id="AN0187498055-16">Discussion</hd> <p>The case studies highlighted in this work each together provide a line of reasoning concerning both the theoretical and practical aspects of the art-science synergy. They also highlight the importance of collaborations in support of the realisation of art-science synergies.</p> <hd id="AN0187498055-17">Boundary Crossings and Boundary Objects</hd> <p>The common element underpinning the case studies is that the overlap and conscription of disciplinary semiotic systems supports the expansion and integration of aesthetic experiences that enrich both disciplines. This semiotic analysis of art-science synergies can be conceptualised drawing on the research constructs of Akkerman and Bakker ([<reflink idref="bib7" id="ref159">7</reflink>]) regarding boundary crossings and boundary objects. Figure 11 provides a visualisation in the context of the art-science synergy illustrating how these semiotic boundary crossings are achieved through the semiotic boundary objects (semiotic systems) that are common to both disciplines that help mediate these boundary crossings that enrich each system.</p> <p>Graph: Fig. 11 Art-Science relations and boundary crossings. These are representations at the intersection (blue region) that can be understood through science or art, but with different purposes, e.g. science: communally agreed, explicit knowledge, art: personal insight or response. Sometimes, science representations (e.g. Bubble chamber photographs) can be conscripted through transductional moves to create art insights/knowledge. They may be viewed as boundary objects that support the generation of an expanded science-art aesthetic</p> <p>Looking back at the quote from Feynman with regards to magnetic field lines and the girl's hair, we propose that his drawing represents an interesting intersection between the semiotic resources of science and art and serves as a boundary object between the distinct semiotic and aesthetic systems of both science and art. One could propose that Feynman is here embodying, as an individual, the synergies we have illustrated in the previous case studies that have involved artists working with scientists. Below, we interpret each of the case studies through this semiotic boundary crossing lens.</p> <p>The first case study is of scientists exploring new ways of processing data from a science disciplinary lens that can lead to not only insights into the science, but also create 'artworks' that also conscript colour and form to create a distinct art-aesthetic response. The second case study, <emph>Galaxy of Suns</emph>, demonstrates how the targeted transduction of science disciplinary semiotic forms into audio-visual experiences uses the re-inscription of semiotic systems and resources to generate an artwork that plays with the crossing of disciplinary boundaries to enrich the meaning for each. The third case-study is an example of the exploration of art and science disciplinary epistemic practices-in-common, representing this artistically through the conscription and expansion of overlapping semiotic systems of data representation. It exemplifies the expansion of disciplinary languages to capture the richness of science knowledge production processes. Once again, the art re-inscribes science semiotic forms to create aesthetic responses to the scale of the CERN collider, the science-practices of the scientists and various other staff at CERN, the arts-practices that capture the multiple meanings embedded in the CERN enterprise, the form and range of data sets, the mysteries that are being explored and a sense of purpose and wonder at these. The fourth case-study is closely related to the third case-study, where transductive moves into an art semiotic system allow a disciplinary expert to convey some of the <emph>appresented</emph> (aesthetic) experiences associated with their discipline that are not necessarily conveyed through the semiotic system of their own discipline. Here, though, as with the first case study, the protagonist is a scientist operating across the science-art boundary, exploring an expansion of their semiotic resources to more richly represent an aesthetic that scientific semiotic systems are not expressly designed for. Once again, we see that the underlying aspect is the interaction of the different types of aesthetic experiences. Perhaps one vital indirect effect of this is the translation of those arts-based practices to develop a hybrid semiotic system that supports a deepened personal response, and in some cases a deeper exploration of the underlying physical laws.</p> <p>These case studies share in common the interaction of different, disciplinary-specific aesthetic experiences, and how these are stimulated by the bridging between the different disciplinary semiotic systems.</p> <hd id="AN0187498055-18">Science Inspires Art, Art Inspires Science</hd> <p>The majority of discussions in the area of art-science synergies concern how art and artists have been inspired by the science. This has been the focus in the case studies we have discussed that deal with explicit art-science projects. We have shown also how these interactions have enriched the experience of science for the general public but also for the scientific community. Each of the case studies involves the artistic conscription of semiotic resources that are part of the semiotic systems of both science and art, to artistically explore expansion of perceptions and aesthetic appreciation of the science. This can lead to two effects regarding science: (<reflink idref="bib1" id="ref160">1</reflink>) the articulation and expansion of personal responses to science phenomena and practices (case studies 1, 2 and 3); and (<reflink idref="bib2" id="ref161">2</reflink>) the translation of art practices and insights back into core scientific processes (case study 4). In each case, the science context provided the impetus for artists to expand the languages of their own practices through conscripting and playing with the science disciplinary semiotic forms.</p> <p>The idea that art enhances scientific practices is not new and has been highlighted by various scholars (e.g. Root-Bernstein et al., [<reflink idref="bib80" id="ref162">80</reflink>]; van't Hoff, [<reflink idref="bib105" id="ref163">105</reflink>]). Successful STEM professionals seem to engage in artistic pursuits (music, painting, etc.) more so than is stereotypically expected (Root-Bernstein et al., [<reflink idref="bib80" id="ref164">80</reflink>]). It could be argued that at some level these artistic pursuits allow scientists to see things from different perspectives. These pursuits can be part of the 'scientific' process when exploring and refining ideas and concepts. For example, Albert Einstein reportedly claimed that 'he never thought in logical symbols or mathematical equations, but in images, feelings and even musical architectures' (Wertheimer, [<reflink idref="bib108" id="ref165">108</reflink>], p. 213). Conversely, artists, throughout history, have focused their practice around scientific phenomena, and used science techniques as part of their practical repertoire. Examples include Leonardo da Vinci and Renaissance artists focused on human anatomy, impressionist painters exploring natural colour or commentators on the scientific process such as Papadopoulos. More explicitly, and pertinent to this work, the development of photography had far reaching implications on artistic practices (Peres, [<reflink idref="bib72" id="ref166">72</reflink>]).</p> <p>We started with the <emph>a priori</emph> presumptions that science and art both involve creativity, imagination and aesthetics, and that ideas do not appear in a vacuum but are informed or shaped by a variety of influences. Exploring through these case studies the inspiration that occurs by art-science interactions in astronomy has shown how each discipline can inform and enrich the other through these semiotic/aesthetic interactions. In each case, the artist (or scientist/artist) gained inspiration from interacting with the science, or scientists. In this way, it is clear that 'science inspires art'. We have argued that science can also benefit from the interaction through the expansion of personal meaning opened up by artists, and articulation of the affective, <emph>appresented</emph> aspects of scientific practices. Furthermore, research studies have shown engaging with the arts fosters scientific success (e.g. Root-Bernstein et al., [<reflink idref="bib80" id="ref167">80</reflink>]). In this next section we explore the proposition that 'Art inspires Science' in a variety of ways.</p> <hd id="AN0187498055-19">Art as Inspiration</hd> <p>The night sky is perhaps one of the single most inspirational pieces of work in nature. The questions that astronomers pursue are driven by the mystery and aesthetic experience of looking at the night sky. The night sky inspires astronomers to ask some of the most fascinating and fundamental questions about process that give rise to the Universe, and the array of astronomical objects in the Universe.</p> <p>Art captures and promotes more generally the personal inspiration that drives scientists—so that for Malin the art is a way of expressing how he feels about the beauty and majesty of the Universe. For Feynman, art is an expression of an expanded concept of disciplinary aesthetics, expressing the fundamental inspiration and aesthetic 'wonder' that scientists cannot express through science disciplinary semiotic systems.</p> <p>Another example of this inspiration is that of science fiction art, space art or more specifically astronomical art. 'Space' artists have for decades created 'strange new worlds'; mesmerising scenes that have no doubt inspired scientists to explore new frontiers (IAAA, [<reflink idref="bib35" id="ref168">35</reflink>]) (Fig. 12). As Carl Sagan stated: 'Imagination will often carry us to worlds that never were, but without it we go nowhere.' (Sagan, [<reflink idref="bib89" id="ref169">89</reflink>]). These artists are expanding the semiotic languages of science (for instance speculative features of alien landscapes and atmospheres) that interpret and extend a perspective that scientists themselves may have. This is not normally communicated, so that the artists' work introduces these extensions that can represent ideas and personal aesthetics using a language that is natural to art. The artists in case studies 2 and 3 are interpreters, and in some sense disruptors—art can challenge science also.</p> <p>Graph: Fig. 12 A view from the surface of Pluto, painted in 1949. Image credit: Chesley Bonestell</p> <hd id="AN0187498055-20">Art as a Spark</hd> <p>More specific than inspiration in a general sense, art can provide inspiration leading to specific scientific practices.</p> <p>If we consider the aesthetic experiences (both positive and negative) that are elicited when an individual looks at a work of art, these experiences tap into our subconscious. A scientist working on a problem draws not only on disciplinary knowledge, but also on intuition and experience. Looking at a work of art could create the spark that helps solve a scientific problem with which a scientist is grappling. This is not often documented as it is not considered 'scientific'; however, there are instances where this has occurred. For example, Albert Einstein used his music as a way to conceptualise his ideas (Caglioti, [<reflink idref="bib12" id="ref170">12</reflink>]). It is not implausible to speculate that the way Feynman used art to convey his aesthetic experiences of the Universe provided the foundations for his Feynman diagrams. Such inspirations would necessarily involve transduction across art-science semiotic systems.</p> <hd id="AN0187498055-21">Art as a Speculation</hd> <p>Concepts in science, and particularly astronomy, are often intangible. Detecting the presence of an exoplanet around a star many light years away does not provide a visible insight into the landscapes of these strange new worlds. However, artists' representations of those worlds show us how those worlds may look if we were to stand on them.</p> <p>The worlds painted by Lucien Rudaux, and Chesley Bonestell provide us glimpses, in many cases very accurate glimpses, into the worlds beyond Earth. Astronomical art can provide inspiration, and also help visualise and speculate about the intangible (Fig. 13). In this case, art can draw on the intangibility of the concepts in science. Science when pushing boundaries relies on a degree of speculation especially in the context of astronomy, which involves complex spatial and temporal relations. Speculation can be a powerful mechanism to inspire scientists to look at things differently, or as a constructive disruption allowing for new ideas or a refinement of established ideas. Speculation is a key component of the exploration of new ideas (Achinstein, [<reflink idref="bib1" id="ref171">1</reflink>]).</p> <p>Graph: Fig. 13 Close-up of another sun. Image credit: Chesley Bonestell</p> <hd id="AN0187498055-22">Art-Astronomy Classroom Synergy</hd> <p>There have been growing calls for science in schools to incorporate art practices as a way of enhancing students' creativity and design capabilities (Harris &amp; de Bruin, [<reflink idref="bib33" id="ref172">33</reflink>]). Astronomy has proven a rich science field for artists, and so astronomy would seem an appropriate stage to nurture the many shared skills and semiotic resources of art and science and provide students with a context where they can see the interaction of these subjects. This proposal is predicated on two aspects of astronomy:</p> <p></p> <ulist> <item> Astronomy as an integrator: Astronomy as a discipline draws on a variety of both STEM and non-STEM disciplines to explore the mysteries of the Universe. From a more philosophical or cultural perspective, it involves questions that humans have explored over millennia through culture, mythology and religion, that have a deeply personal aesthetic basis.</item> <p></p> <item> Astronomy as deeply experienced: Astronomy has a unique characteristic—awe and wonder—that piques our curiosity and inspires us to develop a cosmic perspective from this pale blue dot. This is perhaps most explicit and obvious when looking at the night sky, including impressive features such as the band of the Milky Way (Fig. 14). Astronomical colour images tap into such experiences.</item> </ulist> <p>Graph: Fig. 14 The majestic band of the Milk Way. Image credit: Saeed Salimpour</p> <p>Astronomy is a natural context for science tapping into deeply felt questions and perceptions and experiences (Flammarion, [<reflink idref="bib27" id="ref173">27</reflink>]; Kant, [<reflink idref="bib39" id="ref174">39</reflink>]) that can be expressed through the semiotic systems and disciplinary aesthetics of art. This aesthetic experience of awe and wonder in the context of science education more generally is highlighted by various scholars as providing the potential to engage students more fully with science (e.g. Girod, [<reflink idref="bib30" id="ref175">30</reflink>]; Pugh &amp; Girod, [<reflink idref="bib75" id="ref176">75</reflink>]; Wickman, [<reflink idref="bib109" id="ref177">109</reflink>]).</p> <p>Inspiring teachers to tap into these science-art synergies requires the production of resources, and professional learning support. One powerful approach would be providing teachers with the time to engage with their colleagues in other disciplines. This would allow teachers to better contextualise the art-science synergy within their own school culture.</p> <hd id="AN0187498055-23">Conclusion</hd> <p>Art and science represent two major disciplines of human intellectual activity; together, they constitute fundamentally important ways in which humans aim to understand the world around them. Often art and science are seen as demarcated camps having distinctive and largely incompatible disciplinary knowledge systems and practices. This paper through the qualitative analysis of a range of astronomical art-science projects has provided evidence that these disciplines also have significant shared characteristics such as imagination, creativity, exploration, problem-solving and much more. Often, these shared characteristics are tacit. We have argued through analysis of the case studies that the potential of art-science synergies, drawing on such shared characteristics, is powerfully seen through a framework of social semiotics that encompasses the constructs of aesthetics, transduction and disciplinary discernment, and their expression in overlapping semiotic systems. Using this conceptual framework, various art-science synergies have been unpacked to reveal the centrality of transduction processes across disciplinary knowledge and aesthetics systems in driving art-science synergies.</p> <p>With regards to RQ1, this paper proposes that the nature of art-science synergistic practices is about enriching and expanding the language of each discipline productively. This can involve science as providing a medium, tools or a cultural practice inspiring artistic interpretation, or it can involve science being enriched by <emph>Art as inspiration</emph>, <emph>Art as a spark</emph> or <emph>Art as speculation</emph>. Looking at RQ2, the semiotic and aesthetic basis of the productive interactions between art and science is about expanding the languages through semiotic conscription of representations that are common to the two disciplines. Finally, in response to RQ3, we have shown how the astronomical art-science synergy through semiotic boundary crossings and boundary objects opens up the possibilities for classroom interdisciplinary work.</p> <hd id="AN0187498055-24">Acknowledgements</hd> <p>The authors would like to thank the reviewers for their constructive feedback. The first author acknowledges Deakin University for 2023 Alfred Deakin Postdoctoral Award.</p> <hd id="AN0187498055-25">Funding</hd> <p>This work has been funded by Deakin University through the 2023 Alfred Deakin Postdoctoral Award.</p> <hd id="AN0187498055-26">Data Availability</hd> <p>Not applicable.</p> <hd id="AN0187498055-27">Code Availability</hd> <p>Not applicable.</p> <hd id="AN0187498055-28">Declarations</hd> <p></p> <hd id="AN0187498055-29">Conflict of Interest</hd> <p>The authors declare no conflict of interest.</p> <hd id="AN0187498055-30">Publisher's Note</hd> <p>Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.</p> <ref id="AN0187498055-31"> <title> References </title> <blist> <bibl id="bib1" idref="ref122" type="bt">1</bibl> <bibtext> Achinstein, P. (2018). Speculation: Within and about science. 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| Items | – Name: Title Label: Title Group: Ti Data: The Meeting of Old Friends: Exploring the Art-Science Dynamic in the Context of Astronomy and Astronomy Education – Name: Language Label: Language Group: Lang Data: English – Name: Author Label: Authors Group: Au Data: <searchLink fieldCode="AR" term="%22Saeed+Salimpour%22">Saeed Salimpour</searchLink> (ORCID <externalLink term="http://orcid.org/0000-0002-0387-3152">0000-0002-0387-3152</externalLink>)<br /><searchLink fieldCode="AR" term="%22Russell+Tytler%22">Russell Tytler</searchLink> (ORCID <externalLink term="http://orcid.org/0000-0003-0161-7240">0000-0003-0161-7240</externalLink>)<br /><searchLink fieldCode="AR" term="%22Michael+T%2E+Fitzgerald%22">Michael T. Fitzgerald</searchLink> (ORCID <externalLink term="http://orcid.org/0000-0001-6554-1826">0000-0001-6554-1826</externalLink>) – Name: TitleSource Label: Source Group: Src Data: <searchLink fieldCode="SO" term="%22Science+%26+Education%22"><i>Science & Education</i></searchLink>. 2025 34(4):2707-2737. – Name: Avail Label: Availability Group: Avail Data: Springer. Available from: Springer Nature. One New York Plaza, Suite 4600, New York, NY 10004. Tel: 800-777-4643; Tel: 212-460-1500; Fax: 212-460-1700; e-mail: customerservice@springernature.com; Web site: https://link.springer.com/ – Name: PeerReviewed Label: Peer Reviewed Group: SrcInfo Data: Y – Name: Pages Label: Page Count Group: Src Data: 31 – Name: DatePubCY Label: Publication Date Group: Date Data: 2025 – Name: TypeDocument Label: Document Type Group: TypDoc Data: Journal Articles<br />Reports - Evaluative – Name: Subject Label: Descriptors Group: Su Data: <searchLink fieldCode="DE" term="%22Astronomy%22">Astronomy</searchLink><br /><searchLink fieldCode="DE" term="%22Science+Education%22">Science Education</searchLink><br /><searchLink fieldCode="DE" term="%22Art%22">Art</searchLink><br /><searchLink fieldCode="DE" term="%22STEM+Education%22">STEM Education</searchLink><br /><searchLink fieldCode="DE" term="%22Discovery+Learning%22">Discovery Learning</searchLink><br /><searchLink fieldCode="DE" term="%22Problem+Solving%22">Problem Solving</searchLink><br /><searchLink fieldCode="DE" term="%22Interdisciplinary+Approach%22">Interdisciplinary Approach</searchLink><br /><searchLink fieldCode="DE" term="%22Art+Education%22">Art Education</searchLink><br /><searchLink fieldCode="DE" term="%22Science+Projects%22">Science Projects</searchLink><br /><searchLink fieldCode="DE" term="%22Student+Projects%22">Student Projects</searchLink><br /><searchLink fieldCode="DE" term="%22Semiotics%22">Semiotics</searchLink> – Name: DOI Label: DOI Group: ID Data: 10.1007/s11191-024-00604-1 – Name: ISSN Label: ISSN Group: ISSN Data: 0926-7220<br />1573-1901 – Name: Abstract Label: Abstract Group: Ab Data: For millennia, the awe and wonder of the night sky has captivated and inspired humans to explore some of the most fundamental mysteries of the Cosmos through different perspectives and disciplines. Astronomy as a field of inquiry exemplifies a synergy of disciplines, a synergy that is more often tacit. Over the years, education and educational reforms have evolved into creating demarcated subjects. While this is understandable from a technical perspective, it delimits and misrepresents the breadth of research contributing to the field and its wider implications. This applies to ways that astronomy relates to the STEM disciplines, but more widely to art and science interactions. One of the unfortunate implications of this is that students are not able to fully appreciate the fact that exploration, solving problems and development of astronomical knowledge require the synergetic interaction between knowledge and skills from a range of disciplines. In order to highlight the potential for interdisciplinary synergies, this paper explores one of the most ancient of disciplinary synergies, that of art and science, in the context of astronomy. Through the analysis of various astronomical art-science projects, the aim is to theoretically characterise this synergy through the lens of social semiotics and its associated constructs. The proposed theoretical characterisation is used to provide examples of how this synergy can be productively realised in the context of the classroom. – Name: AbstractInfo Label: Abstractor Group: Ab Data: As Provided – Name: DateEntry Label: Entry Date Group: Date Data: 2025 – Name: AN Label: Accession Number Group: ID Data: EJ1482054 |
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| RecordInfo | BibRecord: BibEntity: Identifiers: – Type: doi Value: 10.1007/s11191-024-00604-1 Languages: – Text: English PhysicalDescription: Pagination: PageCount: 31 StartPage: 2707 Subjects: – SubjectFull: Astronomy Type: general – SubjectFull: Science Education Type: general – SubjectFull: Art Type: general – SubjectFull: STEM Education Type: general – SubjectFull: Discovery Learning Type: general – SubjectFull: Problem Solving Type: general – SubjectFull: Interdisciplinary Approach Type: general – SubjectFull: Art Education Type: general – SubjectFull: Science Projects Type: general – SubjectFull: Student Projects Type: general – SubjectFull: Semiotics Type: general Titles: – TitleFull: The Meeting of Old Friends: Exploring the Art-Science Dynamic in the Context of Astronomy and Astronomy Education Type: main BibRelationships: HasContributorRelationships: – PersonEntity: Name: NameFull: Saeed Salimpour – PersonEntity: Name: NameFull: Russell Tytler – PersonEntity: Name: NameFull: Michael T. Fitzgerald IsPartOfRelationships: – BibEntity: Dates: – D: 01 M: 08 Type: published Y: 2025 Identifiers: – Type: issn-print Value: 0926-7220 – Type: issn-electronic Value: 1573-1901 Numbering: – Type: volume Value: 34 – Type: issue Value: 4 Titles: – TitleFull: Science & Education Type: main |
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