This map was constructed by sorting roughly 800,000 published papers into 776 different scientific paradigms (shown as pale circular nodes) based on how often the papers were cited together by authors of other papers. Links (curved black lines) were made between the paradigms that shared papers, then treated as rubber bands, holding similar paradigms nearer one another when a physical simulation forced every paradigm to repel every other; thus the layout derives directly from the data. Larger paradigms have more papers; node proximity and darker links indicate how many papers are shared between two paradigms. Flowing labels list common words unique to each paradigm, large labels general areas of scientific inquiry.
Category Archives: Art
“Discord” Sculpted by Greg Brotherton
And we’re back…
Hyperion by Sam3
National Geographic Nature Photos of the Year
1Week Of Art Works by Daisuke Yamamoto
Here is another one called puzzle and one called sai by the same crew, rinpa e shidan.
Poets and Artists Have As Many ‘Unusual Experiences’ As People With Schizophrenia
The idea that creative geniuses might not be entirely sane isn’t exactly new. But just how much do creative types have in common with people suffering from psychosis? Well, according to Daniel Nettle at the University of Newcastle, serious poets and artists have just as many ‘unusual experiences’ as people diagnosed with schizophrenia. What saves them from the disabling effects of schizophrenia is that they don’t suffer from the lack of emotion and motivation – known as ‘introvertive anhedonia’ – also associated with the illness.
Nettle asked artists and poets, mental health patients and ‘non-creative’, healthy controls to fill out a questionnaire that’s designed to detect schizophrenic-like symptoms in healthy people. Participants seriously involved in poetry or art (as opposed to mere hobbyists, or non-creative controls) reported having just as many unusual experiences as did patients diagnosed with schizophrenia – that is they tended to answer yes to questions like “Do you think you could learn to read others’ minds if you wanted to?” or “Are the sounds you hear in your daydreams really clear and distinct?”. However, in contrast, they scored lower than both patients and healthy controls on measures of lack of emotion and motivation.
Metalosis Maligna by Floris Kaayk
Android Clones: Which One Is ‘Real’?
Slow Your Brainwaves for Creativity
A neuroscientist claims he can unleash creativity by boosting low-frequency brainwaves, and he’s tested the theory on 100 students at the Royal College of Music.
According to an exhibition at the Science Museum in London, the brain can be trained to slow itself down and, by doing so, lift musicians’ performances by at least one grade.
And it’s not just scientists who are convinced of this. The award-winning pianist Cassie Yukawa, 25, was introduced to the technique – known as neurofeedback treatment – at the Royal College of Music. “I was introduced to Professor John Gruzelier [a psychologist then at Imperial College], and he said he was going to change my brain, which sounded very exciting – like The Matrix,” she says.
Seven years on, she is in no doubt that the theory works. “It has had a wonderful impact on my life, enhancing my general feeling of wellbeing,” she says. “And I have no doubt that it has had a positive effect on my performances. It is about a state of mind; I am now far more willing to be flexible in my playing. It enabled me to think about and explore performance.”
During treatment, sensors are placed on the scalp and ears to monitor the electrical activity in the brain – or brainwaves. High-frequency brainwaves occur when you are very alert and agitated, whereas lowerfrequency brainwaves dominate during relaxation or sleep. The sensors are hooked up to a computer, producing a graph that looks not unlike a heartbeat pattern.
The aim is to push the brain into a state of near-sleep to produce the slow rhythms, known as theta waves, associated with this state. It’s the kind of relaxed state in which ideas often come to you. It occurs naturally if, say, you are driving on a motorway and realise that you don’t remember the previous few minutes.
Visual History Of The Universe
‘Head On’ by Cai Guo-Qiang

@ the Deutsche Guggenheim in Berlin. The installation consists of 99 life-sized wolves, fabricated from painted sheepskins and stuffed with hay and metal wires, barreling in a continous stream towards – and into – a glass wall. Only the first ones crash into it, but the pack chases after the leader.
via wmmna
Android Models by Shinichi Yamashita
Gnosis by Robert Brawley (oil on board)
Dada Manifesto by Tristan Tzara, 23rd March 1918
The magic of a word – DADA – which for journalists has opened the door to an unforeseen world, has for us not the slightest importance.
To launch a manifesto you have to want: A.B. & C., and fulminate against 1, 2, & 3, work yourself up and sharpen you wings to conquer and circulate lower and upper case As, Bs & Cs, sign, shout, swear, organise prose into a form that is absolutely and irrefutably obvious, prove its ne plus ultra and maintain that novelty resembles life in the same way as the latest apparition of a harlot proves the essence of God. His existence had already been proved by the accordion, the landscape and soft words. * To impose one’s A.B.C. is only natural – and therefore regrettable. Everyone does it in the form of a crystalbluff-madonna, or a monetary system, or pharmaceutical preparations, a naked leg being the invitation to an ardent and sterile Spring. The love of novelty is a pleasant sort of cross, it’s evidence of a naive don’t-give-a-damn attitude, a passing, positive, sign without rhyme or reason. But this need is out of date, too. By giving art the impetus of supreme simplicity – novelty – we are being human and true in relation to innocent pleasures; impulsive and vibrant in order to crucify boredom. At the lighted crossroads, alert, attentive, lying in wait for years, in the forest. * I am writing a manifesto and there’s nothing I want, and yet I’m saying certain things, and in principle I am against manifestos, as I am against principles (quantifying measures of the moral value of every phrase – too easy; approximation was invested by the impressionists). *
I’m writing this manifesto to show that you can perform contrary actions at the same time, in one single, fresh breath; I am against action; as for continual contradiction, and affirmation too, I am neither for nor against them, and I won’t explain myself because I hate common sense.









