sion of the music and visuals. Ideally it would be
beautiful and sublime, as great artworks are described. In the case of the application for handheld digital devices, one would simply touch the
screen and this would activate the next image
and sound. In all cases the system could run on
autopilot at different speeds creating a heightened sense for the continuous and fluid nature
of these synergistic systems.
In essence then, through an appealing aesthetic experience, the machine would magnify
embodied understandings and memories of the
Krebs cycle. Furthermore, by emphasizing the
synergistic and synaesthetic potentials of combining sound, image, color, and motion, there
is the possibility of stimulating unconscious
and latent perceptions that might lead to future
“aha moments” in scientists’ minds.
And there’s more to science education than
instilling facts in minds and inspiring future
students. Would the Dance of Life advance
the public’s appreciation of science? Through
such a project, we could aid in bridging the gap
between the two cultures of art and science first
elucidated by C.P. Snow almost 60 years ago, an
idea that seems to have so much currency in the
world of sciart today despite the controversies
that swirled around it in the 1960s.
Furthermore, is it possible that such an approach could help scientists themselves by
training them to think routinely from the inside
out rather than outside in? That remains, for
me, the ultimate question and one about which
this essay makes no claims.
Towards concluding then, while most science
is still taught through static illustration and
rote memorization, it could be better conveyed
through visual means, with sound, and in threedimensional motion. This would allow us to
cultivate a sensibility for and of knowledge in
the mind and the body. Such a project would
necessitate scientists and computer engineers
to collaborate with artists, designers, and musicians to creat