Connecting Art, Design and Science
Art, Design and Science share far more than many people think. Discover some of the fascinating connections between the different disciplines over the centuries.
At a glance:
- Evening Class
- Tuesdays 18:00 - 20:00
- 9 weeks: October to December
- 2 hours taught time per week
- Tutor: Gus Subero
- Fees from £95 to £178
- Location: Imperial College, South Kensington Campus
Exploring creative relationships between the arts and the sciences.
This course considers historical and contemporary cross-disciplinary interactions between science, art and design. Its focus is on the productive relationship between these practices in their endeavours to understand and represent the world. We will reflect on the ways in which scientists have relied on artists to help shape and define their observation and image-making practices, and question some of the assumptions about perception and vision that underpin how images are made and used in science.
The course will look at crossovers in processes, skills, knowledge and values between the fields of art, science and design. We will discuss key concepts in current thinking on art and science and examine the social, cultural and ethical questions brought forward by artistic practices that engage with scientific themes and processes.
Session 1: THEORIES OF AESTHETICS IN ARTS AND DESIGN
In this introductory session we will gain a solid understanding of aesthetics, which within this course relates to a set of principles concerned with the nature and appreciation of beauty as an object and as an ever-evolving entity. Our main concern will be to understand how human beings foster and create emotional responses to different object and subjects that are, in their historical context, regarded as ‘beautiful’. This session assumes that our ‘aesthetic perception’ is intrinsically "cultural" and, therefore, relative to the cultural phenomena surrounding specific groups.
Session 2: SEEING
In this session we will look at the combined history of ‘seeing’ in relation to science and art and consider how technologies of vision have extended not only our perceptual knowledge of the world, but also how it is represented and understood. Further to this is the relationship of viewing mechanisms to ideas of social control and human objectification.
Session 3: MIND
In this session we will consider recent and historical representations and sciences of the mind and how it functions within the body to present notions of self and identity. We will consider what happens when the mind is destabilised, and how this has been the subject both of social and scientific study (and spectacle) as well as creative inspiration. This will span histories of madness, psychoanalysis, hysteria and depression, all of which have been fruitful sources of artistic production and spectacle, from Romanticism through to Surrealism and contemporary art today. From a design perspective, architectural and spatial approaches to treating, containing or managing mental disorders are important reflections of wider societal responses to such conditions.
Session 4: NATURE
The natural world shares a long-standing relationship with scientific and artistic enquiry and, in this session, we will see how interdependence has formed between scientific exploration, technological design and visual representation. We will question definitions of nature and consider shifting perceptions of nature through history in line with socio-political trends and creative developments that allow us to perceive and imagine more of the physical and cosmological world than ever before.
Session 5: BODY
We will examine the body as explored and represented, inside and out, through science, art and design. In thinking about bodily boundaries we will look at concepts such as ‘abjection’, as well as questions of gender and sexuality, following Judith Butler’s argument that gender is performed not biological. Our discussion will also extend to consider ideas of the ‘posthuman’ body.
Session 6: TECHNOLOGY
Technology and creative culture have always gone hand-in-hand; we examine the evolution of that relationship and look at the latest developments in digital art and information design. The Internet has liberated an era of mass user-generated amateur content but, to what extent has this changed the form/s and content of visual culture and the way that we think and behave?
Session 7: VISUAL CULTURE AND PUBLIC HEALTH
This week we will visit an online exhibition from the U.S National Library of Medicine entitled ‘Visual Culture and Public Health Posters’ and we will consider the role of graphic design in constructing and communicating healthcare messages around the world and will show how graphic design has been used to persuade, to inform and to empower. This exhibition will highlight the widespread and often subliminal nature of graphic design in shaping our environment, our health and our sense of self. We will what we see in relation to art, science, design, and anything else that it suggests to you, for example in relation to politics and ideology/belief systems. We will be looking at the full exhibition: Introduction, Infectious Disease, Environmental Health, Anti-Smoking Campaigns and HIV/AIDS and make notes for and discuss each section.
Session 8: DESIGN FOR HEALTH FACILITIES
This week we will look at the way health facilities are designed in order to help improve the condition of patients, the experience of most service users and the quality of care provided by health professionals. We will explore the influence of holistic healthcare facility design and how designs centred on nature can help healthcare designers better serve the whole person. For instance, one way in which designers can support a sense of serenity in healthcare spaces is by improving access to nature, creating positive distractions, encouraging social support, and providing a sense of control in health environments.
Session 9: ART THERAPY: WHEN MEDICINE AND ARTS COLIDE
In this session, we will trace the historical development of analytical art psychotherapy, as well as critically explore its conceptual base, through theoretical and experiential based learning. Analytic art psychotherapy is used as an inclusive term to encompass art therapy and art psychotherapy.
Programme is provisional and might be subject to change.
Additional Reading and Credit Information
There is no compulsory reading required for this course, and there is no set course text.
No academic credits are available for this course. An attendance certificate is issued only to those who attend at least 80% of the taught sessions.
About Your Tutor
Gus Subero is an experienced tutor at Imperial College, where he teaches a variety of undergraduate and postgraduate courses in Hispanic Studies, Film Studies and the Medical Humanities.
His academic research forcusses mainly on gender and representation in the contemporary media, as well as social policy and cultural representation in modern society. He is currently investigating the ways in which disability and health stigma are represented in the visual cultures of Latin America and the Caribbean.
Course Fees and Rate Categories
|Hours||Weeks||Standard Rate||Internal Rate||Associate Rate|
|18||9||£178 (Early Bird rate: £162*)||£104 (Early Bird rate: £95*)
||£137 (Early Bird rate: £126*)|
|* The Early Bird rate is available for enrolments made before 30 September for courses starting in October | All fee rates quoted are for the whole course.|
Fee Categories and Discounts
- Applicable to all except those who fall under the Internal Rate or Associate Rate category, respectively.
- Applies to current Imperial College students and staff (incl. Imperial NHS Trust, Imperial Innovations, ancillary & service staff employed on long-term contracts at Imperial College by third-party contractors).
- Current Centre for Languages, Culture and Communication (CLCC) staff, current CLCC PhD students, Science Communication (Sci Comm) postgraduate students, and students enrolled on an Imperial College 'Language for Science' degree programme should email evening email@example.com before completing the online enrolment form.
- Students (non-Imperial College)
- Alumni of Imperial College and predecessor colleges and institutes
- City & Guilds College Association members
- Members of Friends of Imperial College
- Friends of the South London Botanical Institute
- Members of the UK Council for Psychotherapy (UKCP)
- Royal Borough of Kensington and Chelsea Council staff
- Harrods staff
- Historic Royal Palaces staff
- Natural History Museum staff
- Science Museum staff
- Victoria and Albert Museum staff
- Royal Geographical Society staff
- Royal College of Art and Royal College of Music tutors and other staff
- Santander Bank staff (Imperial College Walkway branch only)
- Austrian Cultural Forum staff
- Staff of Exhibition Road Cultural Group (Discover South Kensington) organisations
- Lycee Charles de Gaulle staff
- Tutors and other staff of other universities and higher education institutions
- Tutors and other staff of institution members of the Association of Colleges
- Residents of postcodes SW3, SW5, SW7, SW10 and W8
It is possible to enrol on many CLCC Evening Class and Lunchtime Learning programmes after the course has started, subject entirely to agreement by the tutor delivering the course. If you want to join a course late do bear in mind there might be work you will need to catch up on, particularly in language courses.
Applicable terms & conditions
Please read the Evening Classes & Lunchtime Learning terms and conditions [pdf] before enrolling on any course.
|Hours||Weeks||Autumn term||Spring term||Summer term|
|18||9||14 Oct - 12 Dec 2019 (9 weeks)||n/a||n/a|
Web enrolment starts 1 August
Enrolment & payment are through the Imperial College eStore. Please use above booking link noting below instructions:
- Our rate categories are explained on this page and your applicable category must be selected on the eStore
- First-time eStore users please create an account by entering an email address and password. These credentials should also be used for future bookings. Imperial College users please note the eStore is not a single-signon College system
- The booking process involves entering payment details before your course choice and applicant details are queried on an in-built questionnnaire which completes the process
- The following email notifications will be sent
|What is sent||When is it sent||What does it contain|
|1. Payment confirmation||Instantaneously following submission of your online application||
|2. Enrolment confirmation||Sent in due course but likely not before the end of September. Please treat your payment confirmation as confirmation that your applicant details and payment have been received||
|3. Programme information||Usually sent Friday late afternoon the week before term starts||
|If you need further help with the above information please ring 020 7594 8756
Certificate of Attendance
Although no credits are offered for this very part-time course, an attendance certificate is presented to students who attend at least 80% (7) of the taught classroom sessions. Eligible students receive their certificate by email after the end of the course.
Questions regarding the content and teaching of this course should be sent to the tutor, Dr Gus Subero