Contents -- Preface -- 1 Arts: A Science Matter Lui Lam -- 1.1 Introduction -- 1.2 Science and Science Matters -- 1.2.1 What Is Science? -- 1.2.2 Three Misconceptions about Science -- Misconception 1: Natural systems include non-human systems only -- Misconception 2: Physics is about deterministic systems only -- Misconception 3: Science is about (mostly) simple systems only -- 1.2.3 Science Matters -- 1.3 Humans -- 1.4 Origin of Arts -- 1.5 Nature of Arts -- 1.5.1 Applied Arts -- 1.5.2 Pure Arts -- Criterion 1: Aim at receiver's neurons -- Criterion 2: Kill time -- Criterion 3: Kill time gently and harmlessly -- Criterion 4: Passivity -- Criterion 5: Human creation or intervention -- 1.6 Arts as a Science Matter -- 1.6.1 Three Lessons from Physics -- 1. How to define a field -- 2. The existence of subdisciplines -- 3. There are three levels of study -- 1.6.2 Arts Studies in Three Approaches -- 1. Empirical -- 2. Phenomenological -- 3. Bottom-Up -- 1.7 Arts and "Science" -- 1.8 Discussion and Conclusion -- References -- PART I PHILOSOPHY AND HISTORY OF ARTS -- 2 The Latin "Artes" and the Origin of Modern "Arts" Brigitte Hoppe -- 2.1 Introduction -- 2.2 Meaning and Etymology of the Word "Art" -- 2.3 "Artes"-Fields of Knowledge -- 2.3.1 "Liberales Artes" as Basis of Education -- 2.3.2 The "Mechanical Arts"-Artes Mechanicae -- 2.4 Relationship between the Systems of "Artes" and "Arts" -- 2.5 A New Type of Artifact Collection: The Cabinet Curiosities (14 to 18 Centuries) -- 2.6 The System of "Artes" as a Principle of Classification of the Cabinets of Curiosities -- 2.7 The "Artes" Concept Approved and Acquired by Artists and Craftsmen -- 2.8 Scientific Motifs in the Fine Arts -- 2.9 Turning Points in Arts and Sciences in Modern Times -- 2.9.1 Turning Point Following the Enlightenment Philosophy.

2.9.2 Turning Point Based on Technical and Industrial Development, and Accompanied by Social and Political Changes -- 2.10 Summary -- References -- 3 Science and Art: A Philosophical Perspective Guo-Sheng Wu -- 3.1 Introduction -- 3.2 Origin of "Science" -- 3.3 Origin of "Art" -- 3.4 "Freedom" as the Common Nature of Science and Art -- References -- 4 Neuroarthistory: Reuniting Ancient Traditions in a New Scientific Approach to the Understanding of Art John Onians -- 4.1 Introduction -- 4.1.1 A Long Tradition -- 4.1.2 Humanists Who Convert to Science -- 4.2 From Art History to Neuroarthistory -- 4.2.1 From Art History to World Art Studies -- 4.2.2 From the Conscious to the Unconscious -- 4.2.3 Advantages of a Scientific Approach -- 4.3 Neuroscientific Tools: Neural Plasticity and Neural Mirroring -- 4.4 Neuroarthistory and Its Applications: Selected Examples -- 4.4.1 Neuroscience Applied to History: Prehistoric Art -- 4.4.2 Neuroscience Applied to Geography: Japan and Europe -- 4.4.3 Neuroscience Applied to Geography: Athens and Rome -- 4.4.4 Neuroscience Applied: China and Europe -- 4.5 Conclusion -- References -- 5 Science and Art in China Bing Liu -- 5.1 Introduction -- 5.2 The Concept and Early History -- 5.3 The New Rising: Important Symposiums and Exhibitions -- 5.3.1 Symposiums Organized by Tsung-Dao Lee (Since 1987) -- 5.3.2 International Conferences and Exhibitions Organized by Tsinghua University (2001 and 2006) -- 5.3.3 The Science, Art (Aesthetics) and Innovation Forum (2007) -- 5.3.4 The Shanghai International Science and Art Exhibition (Since 2004) -- 5.3.5 The Beijing International Conference on Science and Arts (2010) -- 5.4 Publications on Science and Art -- 5.4.1 Books -- 5.4.2 Journals -- 5.4.3 Research Papers -- 5.5 Problems in Developing Science and Art in China -- Appendix 5.1: Science-and-Art Theses in China -- References.

6 The Development of Science Theater Ivo Schneider -- 6.1 What Is Science Theater? -- 6.2 Science Theater Plays Staged Around 2000 in New York and London -- 6.3 Science Theater in German Speaking Countries -- 6.3.1 Brecht's Life of Galileo -- 6.3.2 Dürrenmatt's The Physicists -- 6.3.3 Kipphardt's In the Matter of J. Robert Oppenheimer -- 6.3.4 Differences Concerning the Situation of Theaters in Germany and in Other Countries -- 6.4 The Most Successful Plays in the Last Decade: Copenhagen and Infinities -- 6.4.1 Frayn's Copenhagen -- 6.4.2 Barrow and Ranconi's Infinities -- 6.5 France as an Example -- 6.6 Science Theater Plays Authored by Scientists and Historians of Science -- 6.7 Conclusion -- References -- PART II ARTS IN ACTION -- 7 Silence in Art Cristina Leiria -- 7.1 Introduction -- 7.2 Development of Sculpture Work -- Sail -- Family -- Beyond -- Kun Iam -- The Four Seasons -- Saint Anthony's Tree -- 7.3 Creative Stages -- 1960-1962: The Symbol -- 1963-1970: Contact with Reality and Emotivity -- 1971-1973: Development Planning in London -- 1974-1977: Africa Period -- 1978- 1990: Portugal and Macau Period -- 1990-1993: Portugal: The Transition Period -- 1994-1996: Transition to Sculpture: Events Period -- 1997-2000: Macau's Sculpture: Kun Iam Ecumenical Center -- 2001-2010: Monuments and Exhibitions -- Kun Iam -- Saint Anthony and The Child -- Sail -- 7.4 Conclusion -- 8 Linsen's Art Linsen H. Ngai -- 8.1 My Background -- 8.2 Early Period -- 8.3 Later Period -- Bird Paintings -- Love Birds -- Inspiration from Others -- Fish to Frogs -- Still Life -- Inspiration Abroad -- Portraits -- Batik -- 8.4 Conclusion -- 9 From Curiosity to Creation: The Art of Holly Lane Holly Lane -- 9.1 Introduction -- 9.2 Science and Art -- 9.3 Origins of Art -- 9.3.1 Archeological Evidence of Art -- 9.3.2 Tool Use and Aesthetic Awareness -- 9.4 Definitions of Art.

9.4.1 Philosophical Definitions of Art -- 9.4.2 Art as a Cluster Concept -- 9.5 On Thinking about Art -- 9.6 The Art of Holly Lane -- 9.7 Conclusion -- References -- 10 Making Movies and Making Physics Hark Tsui and Lui Lam -- 10.1 Introduction -- 10.2 Our Background -- Tsui -- Lam -- 10.3 What Are Movies? What Is Physics? -- Tsui -- Lam -- 10.4 Picking a Project -- Tsui -- Lam -- 10.5 Executing the Project -- Tsui -- Lam -- 10.6 Creativity and Innovation -- 10.7 The Joy of Making Movies and Making Physics -- 10.8 Conclusion -- References -- 11 A Journey along the Borderland: A Critical Approach to Artificial Intelligence-Based Art and Literary Practices Jichen Zhu and D. Fox Harrell -- 11.1 Introduction -- 11.2 Integrating the Two Cultures -- 11.2.1 "Duchamp-Land" and "Turing-Land" -- 11.2.2 The Borderland of Critical Computing -- 11.3 Artificial Intelligence, Cognitive Science and Stream of Consciousness -- 11.3.1 Stream of Consciousness Literature and Artificial Intelligence -- 11.3.2 Stream of Consciousness Literature and Cognitive Linguistics -- 11.3.3 Benefits and Challenges -- 11.4 Memory, Reverie Machine -- 11.4.1 Literary Antecedents -- 11.4.2 Conceptual Blending and the GRIOT System -- 11.4.3 Framework for Memory, Reverie Machine -- 1. Dynamic narration of affect using the Alloy conceptual blending algorithm -- 2. The emotion state machine -- 3. Memory structuring and retrieval -- 11.5 Conclusion -- References -- 12 ChemArt and BioArt: Art-Science Interactions Maria Burguete -- 12.1 Introduction -- 12.2 Science and Art -- 12.3 ChemArt: A Case Study -- 12.3.1 Artistic Science -- 12.3.2 Scientific Art -- 12.4 BioArt -- 12.5 Fractal Geometry: The Paradigm Shift in Art and Science -- 12.6 Discussion and Conclusion -- References -- PART III UNDERSTANDING ARTS.

13 On the Origin of Literary Narrative and Its Relation to Adaptation Patrick Colm Hogan -- 13.1 On Literature and Adaptation -- 13.1.1 Principles of Evolutionary Explanation -- 13.1.2 Evolution and Complex Practices -- 1. Strict adaptation and ancillary adaptation -- 2. Literature, strict adaptation and ancillary adaptation -- 13.2 Literary Narrative and Strict Adaptation: What Makes a Story -- 13.2.1 Literary Universals -- 13.2.2 Imagination and Literature -- 13.2.3 Literature and Emotion -- 13.2.4 Explaining Aversive Imagination -- 13.2.5 Explaining Literary Emotion -- 13.2.6 Literary Narrative Beyond Imagination: Explaining Discourse -- 13.3 Literary Narrative and Ancillary Adaptation -- 13.4 Productivity and Eudaimonia: On the Obsession with Literary Adaptation -- 13.5 Conclusion -- References -- 14 Emotion, Cognition and Aesthetic Form in Vishal Bhardwaj's Omkara and Shakespeare's Othello Lalita P. Hogan -- 14.1 Reading Love and Anger -- 14.1.1 Imagination and Emotion -- Language and belief -- 14.1.2 Matital Infidelity and Manly Anger: Varying Norms -- 14.1.3 How Reading Is Influenced by Private "Stories" -- 1. Shallow reading and deep reading -- 2. Beyond shallow reading, changing private "stories" -- 3. Reading for empathy -- 4. Masculinity, violence and righting wrongs -- 5. Not appraising trusted friend as enemy -- 14.2 Laws of Emotion, Appraisal and Imagination -- 14.2.1 Relation between Appraisal and Laws of Emotion -- Beliefs and appraisal -- 14.2.2 Basics of Appraisal and Early Modern Theory of Humors -- 14.3 Othello and Omkara: The Main Storyline -- 14.3.1 Make-Believe Reality and Emotion in Othello and Omkara -- 14.3.2 Metaphor, and Appraisal of Women as Objects -- 14.4 The Law of Situational Meaning: The Foul Thief in Othello and Omkara -- 14.4.1 Romantic Love as a Figure for Democracy.

14.4.2 Appraising Love as Possession and Its Loss as Theft.