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Science relates to basketball in many ways. Basketball players use science to shoot the ball, dribble,and pass the ball. making a small change in the ball can change the ball's trajectory. Some scientific Principles that is involved in every shot are force, gravity,energy,motion,and air pressure

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Next time the kids head out to practice their shots, consider this: there are scientific principles involved in every shot! Trajectory, force, gravity, energy, motion, air pressure, percentage -injecting a little bit of science into summertime fun can be as simple as asking the right questions when you are out on the court and then putting a few of those ideas into action.

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Science has way more impact on soccer than you think. The shape and form of the ball makes it so if you kick it, you can make it do amazing and unreal things such as curving, spinning, soaring at great speeds, etc. Some of the greatest players have figured out that the placement of your kick is what controls how/where your ball goes.

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With the attention of sports fans worldwide focused on South Africa and the 2010 FIFA World Cup, U.S. scientist John Eric Goff has made the aerodynamics of the soccer ball a focus of his research.

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Science relates to soccer in many ways whether it's when the ball is flying, spinning/curving, or even when it is just rolling on the grass. Even the smallest adjustment to your technique when kicking can change the ball's trajectory by a lot. The article below explains everything.

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With the attention of sports fans worldwide focused on South Africa and the 2010 FIFA World Cup, U.S. scientist John Eric Goff has made the aerodynamics of the soccer ball a focus of his research.

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I love swimming. My grandmother owns a pool. I have been able to swim since i was very young. Swimming and science relates because in order to swim in clean water you must use some form of chemistry. Chemistry is making sure the chemical balance in the water is correct.

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Swimming pools are used recreationally and for competitive events. Since a participant is often fully immersed in the water, the water's hygiene is important. Water that is contaminated can cause illness.

In contrast to many natural water courses, the circulation and turnover of water in swimming pools can be slow. While the water in most below-ground pools is drawn, pumped through a filter and even a heater, and circulated back to the pool at a legislated rate, the time to replace the entire volume of water can still be less than in a free-flowing stream, pond, or lake. Additionally, the number of people using the limited water volume can be much greater than in a natural setting. If steps are not taken to keep microorganisms and other contaminants under control, the water can become a dangerous medium for the growth of the microbes, and for the continued presence of noxious compounds.

One approach to maintaining swimming pool water quality involves filters, which can remove microbes and larger debris from the water. The latter are removed by a filter basket that acts as a strainer. This process is purely physical; water enters the open end of the filter, and debris that is too large to pass through the mesh basket remains trapped.

A second filter utilizes physical and chemical means to trap smaller material. The filter contains a bed of special-grade sand or diatomaceous earth. Incoming pool water enters at the top of the sand. Typically, the water is then allowed to percolate down through the sand under the influence of gravity. During the slow downward journey, microorganisms and other particles stick to the sand or earth grains. The size, surface charge, and surface chemistry of water contaminants determines how avidly they associate with the sand or earth particles.

Over time, as debris collects, the ability of the filter bed to bind particles decreases. Then, by forcing water back through the bed in the reverse direction in a process called backwashing, the collected debris can be driven out. Once the sand or earth grains have settled, the filtering action of the bed is restored.

Today, the filter bed is sometimes replaced by a synthetic filtering material packaged in a cartridge that can be inserted and removed from the water flow.

Chemicals are also added to swimming pools to aid in keeping the microorganisms at permissible levels, and to maintain a balance of inorganic parameters.

Disease-causing (pathogenic) bacteria are controlled by the use of disinfectants. The most popular swimming pool disinfectant is chlorine, which is typically introduced in the form of a solid (calcium hypochlorite) or a liquid (sodium hypochlorite). (Instead of chlorine, a chemical called bromide can be used. Since it tends to be more expensive than chlorine, bromide is not the typical disinfection method of choice.) Less routinely, chlorine gas can be added to the source water. Predetermined amounts of the materials are added, based on the volume of water in the pool, to produce a final free chlorine concentration in the water when the solid dissolves and the liquid or gas disperses. The final chlorine concentration is important. If too little chlorine is added, for example, the chemical reaction that occurs can generate various forms of a compound called chloramine. Chloramines have an objectionable smell and can irritate the skin and mucous membranes such as the eyes.

Addition of the proper amount of chlorine will produce mainly hypochlorous acid in the ensuing chemical reaction. Hypochlorous acid kills bacteria by disrupting the structure of their cell walls and destroying the activity of enzymes inside the cells that are vital for life.

Hypochlorous acid is unstable and tends to lose its potency in sunlight. Thus, many outdoor pool operators will also add cyanuric acid to the water. Cyanuric acid associates with hyochlorous acid and stabilizes its structure, while not affecting its antimicrobial potency.

Another aspect of swimming pool chemistry concerns the pH level of the water-the acidity or alkalinity of the water. The level is measured on a logarithmic scale (each division on the scale is ten times different from the preceding or subsequent value) that indicates the balance between acid and alkaline molecules in the water. The pH scale ranges from 0 (extreme acidity) to 14 (extreme alkalinity). Swimming pool water should have a pH of 7.2 to 7.8; within this range, the antimicrobial action of chlorine is most efficient and the water is most comfortable to the user. Water that is too acidic can damage metal surfaces and is too harsh to skin, whereas water that is too alkaline causes build-up of deposits on surfaces and becomes objectionably cloudy.

The pH of swimming pool water can be easily measured using a number of portable devices. If necessary, adjustments to pH can be made by the addition of sodium carbonate or sodium bicarbonate, which raises the pH, or muriatic acid, which lowers the pH.

A swimming pool is an ever-changing environment. Thus, swimming pool chemistry needs to be frequently monitored and, if necessary, altered throughout the day.

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Swimming pools are used recreationally and for competitive events. Since a participant is often fully immersed in the water, the water's hygiene is important. Water that is contaminated can cause illness. In contrast to many natural water courses, the circulation and turnover of water in swimming pools can be slow.

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I love to sew because its cool to see how a peice of fabric is turned into a shirt or pants and I have been sewing for about 2 years.We may not think about it but sewing is science. For example silk is actually stronger than steel because its a protein with a complex but molecular composition allowing it to move sinuously even though it has sheer strength.

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Jeremy Fordham is an engineer who is excited about encouraging dialogue in unique spaces. He contributes to resources promoting Ph.D. programs and is an advocate of sustainability and green energy.
Fabrics are an essential part of everyday life. From their functional purposes as clothing, carpets and curtains to their to aesthetic incarnations as wearable art, fabrics have enriched human existence for centuries. While cotton, wool, silk and linen have been utilized by cultures around the world for generations, scientific research over the last century has yielded a plethora of new, synthetic fibers. While these innovations have made lives infinitely richer, they have also greatly complicated the arts of sewing and fabric design.

As those who have attended online Ph.D. programs in this area know, fiber composition and chemical structure not only affect the lifespan of the fabric, they affect how easily the fabric can be dyed, woven and stitched. They affect whether a fabric must be steam treated, dry-cleaned and even dictate the temperature of the water in which delicate fabrics must be washed. However, while fiber science is certainly complicated, understanding some basic principles will make it possible to select the best fabric for any design endeavor.
Chemical Structure
Put a piece of cotton cloth under a microscope, and you'll see the individual thread fibers that form its structure. As this World of Molecules article points out, in its most basic form cotton is simply cellulose with a unique crystalline structure that lends it strength, flexibility and absorbency, making it ideal for weaving and dyeing.

Shrinkage
Satin Polyester fabric, polyester fibers under a microscope. Fabric Thickness Silk fabric, silk fibers magnified 30,000×.
Cotton-based fabrics: denim, gauze, cotton jersey. Cotton fabric, cotton fibers magnified 100×.
Just as cotton's unique properties make it an ideal material for spinning into thread and weaving into cloth, each fabric has a unique molecular structure that makes it ideal for certain uses. As this ScienceDaily points out, silk is actually stronger than steel, but it is flexible and feels luxurious against the skin. Why? It's a protein with a complex and singular molecular composition that moves sinuously despite its rigidity and sheer strength.

Understanding the properties of these and other naturally occurring fabric materials has led to many innovations in the manufacture of synthetic fabrics that take their chemical inspiration from their natural counterparts. For instance, polyester takes its name from the fact that it is chemically constructed of polymer chains linked together by ester compounds. This material can be used to manufacture plastic soda bottles just as easily as it can be used to create fabric for clothing. Polyester is remarkably durable when doused in water, making it ideal for practical outdoor wear, however it breaks down when exposed to alkaline substances like sodium hydroxide.

A fabric's chemical structure even affects shrinkage. For instance, many fabrics are labeled "dry clean only" not because one wash will destroy the fabric but because multiple washes will slowly cause the fabric's fibers to break down, leading to shape change and shrinkage. According to an article on American Dry Cleaner by Norm Oehlke, wool, a protein-based chemical, suffers from progressive shrinkage and felting shrinkage, which often means that dry cleaning is essential to its maintenance. Cotton, on the other hand, shrinks most on its initial wash, which is why many cotton garments display the words "pre-shrunk" on the label. One creative way to avoid shrinkage in fabrics is to weave together the chemical structures of cotton and polyester, creating a cotton-polyester hybrid that will not shrink.

Many of the synthetic fabrics manufactured today are designed to tolerate washing, but some varieties may shrink. For instance, rayon may shrink when washed and stretch when it gets wet. On the other had, spandex suffers far less wear from moisture than its equally stretchy counterpart, Lastex, because of its slightly different chemical structure. Clearly, knowing how the chemical structure of a fabric is essential to understanding how it will respond to washing or dry cleaning. Without proper care, garments, carpets and any other fabric-based material will be destined for rapid destruction.

Cotton is the "fabric of our lives", but just how many varieties of cotton are available? The answer, according to the International Trade Centre, is upwards of 500. Cotton can be broken into six main categories, and those categories provide usage constraints. Gauzy, 100 percent cotton shirts are so thin as to be almost sheer and durable; 100 percent cotton denim jeans might be made from the same material, but structurally, they're very different. These constraints affect the setting that should be used to sew with specific cotton. Just as you wouldn't use a jackhammer to drill the hole to hang a picture, you wouldn't use the same settings to sew a shirt as to sew denim jeans.

Fabric thickness is perhaps the most obvious signal that different fabrics must be treated in different ways. Just as gauzy cotton and denim are different, so too are chiffon silks different from raw silks. While the differences are easy to spot physically, they originate at the molecular level, causing the fabrics to be structurally different. Thus, while a stronger, thicker denim needle might be used to sew denim cotton, an extremely fine needle is needed to sew gauzy cotton. Short stitches will be used to hold the denim together, while long stitches will help prevent snagging of the gauzy cotton. The structure of the fabric ultimately affects how it is used.

Thousands of years have passed since the first cotton and flax fibers were cultivated and used to create clothing, but our understanding of them is only now beginning to evolve. Far from being the realm of fashion designers and textile artists, innovations in fabric have been developed through a partnership between these creative thinkers and the scientists who search for why something works, and look for new answers to solve perplexing problems. The story of the development of polyester is just one example of how fabric design and chemical research have collided over the years with results that have, and that will continue, to change our lives.

~Jeremy

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Into the Cloth: The Science Behind Various Fibers

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Jeremy Fordham is an engineer who is excited about encouraging dialogue in unique spaces. He contributes to resources promoting Ph.D. programs and is an advocate of sustainability and green energy. Fabrics are an essential part of everyday life. From their functional purposes as clothing, carpets and curtains to their to aesthetic incarnations as wearable art, fabrics have enriched human existence for centuries.

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Science relates to karate with the physics and energy that are involved with it. You need balance when with your stance and to use throws or grapples you need to remove their center of mass tgat supports them or you can direct or take away the energy of other people by using their motion against them or interfering with there energy flow.

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A scientific approach can reveal much about combat sports, and football.

Umberto Salvagnin via Flickr | http://bit.ly/1QaHn8t

Inside Science Contributor
Inside Science Minds presents an ongoing series of guest columnists and personal perspectives presented by scientists, engineers, mathematicians, and others in the science community showcasing some of the most interesting ideas in science today.

(Inside Science) -- Jason Thalken has a Ph.D. in physics and also practices martial arts. He's the author of " Fight Like a Physicist: The Incredible Science Behind Martial Arts." A data scientist who works in industry, he has studied and competed in eight martial arts, and has a black belt in hapkido. His book investigates and discusses how fighters can use science to gain an advantage, why safety equipment can backfire, and why center of mass, pi, and momentum are all important to those who practice martial arts. The book is written to appeal to readers regardless of their scientific background. Fans of other sports, including football, will also be interested to read the chapters on brain injuries and concussions. Readers might not expect a martial arts book to discuss football, but to a physicist like Thalken, exploring the way safety gear, collisions, and technique influence brain injury makes a lot of sense.
Thalken talked to Inside Science's Chris Gorski. The transcript of the interview was edited for length and clarity.
Inside Science: Were you into science first, or martial arts?

Jason Thalken: I've been interested in science since I was a small child. But I didn't really start getting into physics until high school, college. The same thing with martial arts. I started with martial arts back in '95. It's really been a parallel path the whole time.

IS: Do you think that a physics background gives martial artists some kind of extra advantage?

JT: I would say I think a physics background would give an advantage. But it's probably not exactly the way people would think. It's not like drawing lines and making calculations about force and stuff like that are helpful. Perhaps the primary advantage someone like that would have is the understanding of being able to take your training for one thing and applying that into unknown [situations].

IS: In the book, you discuss how an individual can think about their own center of mass and the value of momentum versus energy when they're striking someone or being struck. Could you explain some of those main points?

JT: If you want control over your own stance and your own position then you need your center of mass above both your feet. We have all sorts of ways we can do takedowns, throws and sweeps, but it all boils down to a very simple premise. And that's moving the center of mass away from the supports [usually the athlete's legs], or moving the supports away from the center of mass, and then ensuring that your opponent doesn't make a movement to put their center of mass back above their [supports] and weight. I guess it's a relatively simple concept, but there's all sorts of different variations and different styles.

The range of available human motion is the dictating factor there. It's not the laws of physics that say you have to have either a high momentum or a high energy strike. If you're going to throw a punch you can have your muscles very loose, and in that case your body acts more like a bunch of loosely connected separate objects, but you can move very quickly. That puts very little mass behind it, but it can move very quickly. That ends up being a high energy strike, and it can cause localized tissue damage, something like that. It can hurt, but it's not going to knock anybody back, or rotate anybody's head and knock them out.

On the other end of the spectrum is if you actually tighten your muscles, or selectively tighten them, you can actually be one solid object at the moment of impact, and have a lot of your mass effectively behind that punch. That can knock an opponent back, or rotate their head and knock them out. So you end up with this dichotomy between the two, and those things usually don't end up being head to head, but they are for fighting.

Fighting, Safety Equipment, and Injuries

IS: And it seems like that kind of theme is carried throughout the book, especially when you talk in depth about the brain injuries.

JT: For a very long time the way we looked at injury and impacts was, we just took things like skull fractures, and said that a concussion is probably that to a lesser extreme, and just went with that. It turns out that that was not a very good idea. So instead, what we've done [with safety gear, including gloves and helmets], is we've reduced the ability to feel sensations of pain, for both football players and fighters. But we've enabled them to take large numbers of hits to the head. Big ones cause large rotations of the head, little ones cause small rotations of the head. There's shear forces applied along the axons [parts of nerve cells] in the brain. That ends up causing injury.

We don't see damage around the edges of the brain. We don't see damage localized to the front and back, we don't see radial patterns of damage. What we see is diffuse damage throughout the brain. We should expect to see [localized damage] if the brain was bouncing off the front and back of the skull, or side to side. And then ultimately, if that was what was going on, then for a boxer a straight punch to the forehead of the opponent, that would knock the brain right into the front of the skull. But that is not the knockout punch. What your knockout punch is, is a hook to the jaw. And it turns out that the jaw is actually the furthest distance from the point of rotation at the base of the skull. So that gives you the most leverage to get the head turning.

IS: The potential exposure, the repetitive exposure to these kinds of injuries is huge if you're fighting competitively, but maybe also sparring very intensely. What kind of things do martial arts leaders need to think about changing in order to try to keep people in the ring and in the sports as long as possible?

JT: There's a lot of things that we can do to try to mitigate that. One big one is actually just changing the way we think about safety gear. We have this notion that wearing gloves is safe, and wearing bigger gloves is even safer. It comes down to the simple fact that that's only safer for superficial injuries. If we really want to protect the brains of our athletes, we should probably take the gloves off altogether. Obviously there's the potential for eye injury and [cuts, bruises, and broken bones], so there's other concerns, but if we're talking about protecting the brain, even if we're not going to make changes to the sports, take the gloves off for boxing and mixed martial arts, just training without the gloves would be a step.

One of the things that boxing gloves and MMA gloves do is they provide a lot of protection for the hands. If you're not able to throw full force punches at your opponent's face and head without personal repercussion, that's a very different, you'll take a very different approach to your fighting style.

Training for the Known and Unknown

IS: In the book you talk about a different approach in training and competition, to try to not injure your training partners. Does training differently than you compete put people at a disadvantage in competition?

JT: There was a concept that was introduced, I think it was in Rory Miller's book, " Meditations on Violence." He said, if you're going to be practicing martial arts, no matter what there is a flaw in your training. And the reason for that is that if there was not a flaw in your training, you would be killing and seriously injuring people that you train with. There has to be an intentional flaw there. That's actually where I get into where you should [approach a problem] like a physicist would approach problems. You're not training for the specific scenario that you're looking at right now, you're training to tackle the unknown later on.

IS: It seems like the whole book is built around what's the evidence we can find and what's the theoretical basis we can find behind the martial arts. How many of the people in the martial arts world are tied up in concepts that cannot be proven, such as the concept of the metaphysical force known as "Qi"?

JT: There's one part of the book where I talk about not throwing away good stuff just because it has a mystical explanation. I think some pressure points are a really good example of this. I've personally been brought to my knees by having a thumb shoved inside of my elbow before. Of course the explanation for that is that my Qi has been affected. Just because the explanation is Qi doesn't mean that that didn't work. I wanted to write the book such that I wasn't just dismissing anything that had to do with Qi, but instead saying some of these things are things that we had to come up with an explanation for before we had the actual science to explain it. So we're not saying that it's all garbage, but we are saying that it's about time for us to come in and figure out what's really going on here.

IS: Is there anything else that you'd like to elaborate on?

JT: A lot of people don't necessarily understand at first why a study of martial arts would lead us to answers about problems with football today. In football, you've got all sorts of different things going on. The actual activity that's causing the brain damage is not the primary activity that's going on. We're trying to get a ball in a certain location. That has nothing to do with brain damage. But, then you look over at boxing and MMA, then the actual goal of the activity is that brain damage. Then we can take a look and we can say, okay, what are these guys doing that's effective at causing that, and what's not? We really should look to a sport that's looking directly at causing what it is we're trying to fix.
Thalken tweets at @JasonThalken

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What Physics Can Tell Us About Martial Arts

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A scientific approach can reveal much about combat sports, and football. Umberto Salvagnin via Flickr | http://bit.ly/1QaHn8t Inside Science Contributor Inside Science Minds presents an ongoing series of guest columnists and personal perspectives presented by scientists, engineers, mathematicians, and others in the science community showcasing some of the most interesting ideas in science today.

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Singing has been proven to release endorphin. Some scientist say a lack of endorphin have been the cause of OCD-type illness. Singing has been shown to improve the amount of Oxycontin in the brain. They are also known as a love drug.

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I've recently joined the amazing Cardiff University Inspire Choir, run by the lovely people at Sing and Inspire. It's a struggle to justify an hour out of a busy working day for what feels like a bit of fun, but every week I have been amazed by the dramatic way those 60 minutes affect me. Being a scientist I couldn't resist doing some research into the science of singing to see why it was making me feel so great!

Researchers have worked out that singing seems to produce the perfect mix of both calming and energising based on what it does to the brain. Sounds good to me.

Endorphins

The first candidate for my feel-good sensation is the fact that singing has been shown to release endorphins in the brain. An endorphin is a chemical that works by blocking the cells responsible for pain and certain emotions. The second part of the word; 'orphin' hints at the power of these things whilst 'endo' is short for endogenous which means 'from inside the body'. So the word 'Endorphin' literally means a morphine-like chemical produced inside the body. The detection of endorphins by the brain are one of the ways we know when we've had enough of a good thing and we should stop! Some scientists think that a lack of natural endorphins could be to blame for OCD- type illness where some people literally don't get the signal to stop and continue washing hands beyond the point that it is good for them (for example).

Endorphins could also be responsible for the benefits patients often report which is known as the placebo effect. Being treated by someone, even if only with a sugar pill that we believe will make us better, can be enough to release endorphins in the brain which then do make you feel better!

Oxytocin

The second culprit for my stupid grin as I leave choir is the lovely ' oxytocin'. Now anyone who has had children has first hand experience of how great this can be to you. It's sometimes known as the 'love drug' or the 'cuddle hormone' as it is known to increase feelings of love and trust in those around you. Singing has been shown to increase the levels of oxytocin in your brain. This just gets better!

Combined with the health benefits of breathing well, and being part of a community working together on something, this all adds up to very good news for choir members - and it doesn't matter whether you are actually a good singer or not!

Sing and Inspire also run a choir for Tenovus Cancer Care, and they have found phenomenal results with their choir for those affected by Cancer.

So if you're ever struggling to justify that hour off to sing your little hearts out, show your boss the hard evidence to prove that it's very likely to make you a healthier and happier employee. I know I am certainly more productive on a Tuesday afternoon because of it...!

You can catch the choir in action here. Do come and join in the fun every Tuesday 1pm - 2pm if you're a Cardiff University person, or look out for any choir near you to start reaping those health benefits for yourself.

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I've recently joined the amazing Cardiff University Inspire Choir, run by the lovely people at Sing and Inspire. It's a struggle to justify an hour out of a busy working day for what feels like a bit of fun, but every week I have been amazed by the dramatic way those 60 minutes affect me.

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this talks about what computer science is and how it relates to what the computer does

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Computer Science and Computing-Related Fields: What are They and What's the Difference?

There is a lot of confusion in the general public about what computer science (sometimes referred to as simply "computing") is and how it is different from allied computing-related fields, such as information systems and computer engineering. These are different fields, with different areas of study and different careers and career prospects. It is important that a student contemplating going into one of these fields know the differences so that he or she can find the field that best suits his or her aptitude, interests, and career goals.

This page addresses the question, "What is Computer Science?", and discusses its place in the collection of computer science-related fields usually referred to as "computing."
The Short Answer The Long Answer
The Short Answer

The following short definitions are based on those used by the professional societies of the respective fields. A longer discussion is provided in the next section.

Computer science is the study of the theory, design, implementation, and performance of computer software and computer systems, including the study of computability and computation itself.
Read more on Cmoputer Science

Computer engineering is concerned with the design of computer hardware and of computer-based devices. To the extent CE involves software, it is software interacting tightly with hardware for embedded systems and computer-based devices.
Read more on Computer Engineering

Information systems as a field has to do with applying today's information technology to solve today's problems, typically in the area of businesses and other enterprises
Read more on Information Systems

The Long Answer

In the rest of this page, will give a more complete description of the three areas of computing represented on UMaine's campus. Of these three, computer science (CS) is the oldest and broadest. Indeed, information systems (IS) can be seen as having been derived from CS, and computer engineering (CE) was formed at the intersection of CS and electrical engineering.

The fact that there are really three distinct fields, each with its own area of study, is confirmed by at least three things. First, the three fields are routinely treated separately at universities across the country, being generally embodied in different departments. Second, they have distinct professional societies. The primary professional society for computer science is the Association for Computing Machinery (ACM). For computer engineering, the primary professional society is the Institute of Electrical and Electronics Engineers (IEEE). For information systems, the primary societies are the Association for Information Systems (AIS) and the Association of Information Technology Professionals (AITP). Third, the three fields have to meet different accreditation criteria.

The best place to look for definitions of the fields is in information provided by the professional societies themselves. This is most concisely provided in the various documents created as part of the societies' joint Computing Curricula 2001 (CC2001) project (a joint project of the IEEE and the ACM, with participation by other professional societies). Our definitions below draw on the overview document for this project: Computing Curricula 2005: The Overview Report (produced by the Joint Task Force on Computing Curricula 2005, a joint project of the Association for Computing Machinery, the Association for Information Systems, and the Computer Society of the IEEE, September, 2005). This is referred to as CC2005. Other documents in this series also exist and are useful for understanding the differences between the fields:

CS2001: Computing Curricula 2001: Computer Science, The Joint Task Force on Computing Curricula, IEEE Computer Society and the Association for Computing Machinery, December, 2001.
CE2004: Curriculum Guidelines for Undergraduate Degree Programs in Computer Engineering: A Report in the Computing Curricula Series, Joint Task Force on Computer Engineering Curricula, IEEE Computer Society and Association for Computing Machinery, December, 2004.
IS2002: IS 2002: Model Curriculum and Guidelines for Undergraduate Degree Programs in Information Systems, Association for Computing Machinery, Association for Information Systems, and Association of Information Technology Professionals, 2002; part of the Computing Curricula 2001 Project.

Another document, SE2004, also exists for software engineering, but we take a standard view that software engineering can be considered part of computer science; this is certainly the case on this campus, as it is at major software engineering schools.

For ease of reference, CC2005 and these other documents are available here.

Computer Science

Computer science has within its purview the study of the theory, design, implementation, and performance of computers and computer software, including the study of computability and of computation itself. In CC2005, the ACM and IEEE say:

Computer science spans a wide range, from its theoretical and algorithmic foundations to cutting-edge developments in robotics, computer vision, intelligent systems, bioinformatics, and other exciting areas. We can think of the work of computer scientists as falling into three categories.

They design and implement software. Computer scientists take on challenging programming jobs. They also supervise other programmers, keeping them aware of new approaches.
They devise new ways to use computers. Progress in the CS areas of networking, database, and human-computer-interface enabled the development of the World Wide Web. Now CS researchers are working with scientists from other fields to make robots become practical and intelligent aides, to use databases to create new knowledge, and to use computers to help decipher the secrets of our DNA.

They develop effective ways to solve computing problems. For example, computer scientists develop the best possible ways to store information in databases, send data over networks, and display complex images. Their theoretical background allows them to determine the best performance possible, and their study of algorithms helps them to develop new approaches that provide better performance.

Computer science spans the range from theory through programming. Curricula that reflect this breadth are sometimes criticized for failing to prepare graduates for specific jobs. While other disciplines may produce graduates with more immediately relevant job-related skills, computer science offers a comprehensive foundation that permits graduates to adapt to new technologies and new ideas. [CC2005, p. 13]

A recommended Computer Science Curricula published as Curriculum Guidelines for Undergraduate Degree Programs in Computer Science prepared by The Joint Task Force on Computing Curricula Association for Computing Machinery (ACM) and IEEE Computer Society was published in 2013.

Computer Engineering

Computer engineering, on the other hand, is concerned with computer hardware design and the design of computer-based devices, but not with software-only systems, general computing, or general computing systems. The ACM and IEEE, in CC2005, say:

Computer engineering is concerned with the design and construction of computers and computer-based systems. It involves the study of hardware, software, communications, and the interaction among them. Its curriculum focuses on the theories, principles, and practices of traditional electrical engineering and mathematics and applies them to the problems of designing computers and computer-based devices. Computer engineering students study the design of digital hardware systems including communications systems, computers, and devices that contain computers. They study software development, focusing on software for digital devices and their interfaces with users and other devices. CE study may emphasize hardware more than software or there may be a balanced emphasis. CE has a strong engineering flavor. Currently, a dominant area within computing engineering is embedded systems, the development of devices that have software and hardware embedded in them. For example, devices such as cell phones, digital audio players, digital video recorders, alarm systems, x-ray machines, and laser surgical tools all require integration of hardware and embedded software and all are the result of computer engineering. [CC2005, p. 13]

As UMaine's ECE Department states on their Web site:

Computer Engineering graduates are equipped for careers as engineers, electrical designers, electrical engineers, design and applications engineers, test engineers, power systems engineers, and product engineers. [www.ece.umaine.edu/programs/undergrad; accessed 10/6/2006]

There is often legitimate overlap between CS and CE. For example, it is quite common for computer architecture to be taught and studied by both CE and CS, as it is at UMaine. It is also common for neural networks, computer vision, and low-level robotics, involving as they do primarily hardware or hardware-software solutions, to be in the CE department, as is also the case at UMaine. VLSI design, on the other hand, would not be reasonable to find in the computer science department, and one would not expect to find basic computer science disciplines in CE or IS, such as AI, graphics and visualization, high-performance computing (apart from hardware considerations), computer networks, database systems (apart from applications), software engineering, and so forth.

Information Systems

The ACM and IEEE, in CC2005, say:

Information systems specialists focus on integrating information technology solutions and business processes to meet the information needs of businesses and other enterprises, enabling them to achieve their objectives in an effective, efficient way. This discipline's perspective on information technology emphasizes information, and views technology as an instrument for generating, processing, and distributing information. Professionals in the discipline are primarily concerned with the information that computer systems can provide to aid an enterprise in defining and achieving its goals, and the processes that an enterprise can implement or improve using information technology. [...] A majority of Information Systems (IS) programs are located in business schools. All IS degrees combine business and computing coursework. A variety of IS programs exist under various labels which often reflect the nature of the program. For example, programs in Computer Information Systems usually have the strongest technology focus, while programs in Management Information Systems emphasize the organizational and behavioral aspects of IS. Degree program names are not always consistent. [CC2005, p.14]
Other Related Areas
New Media

A fourth area on campus, New Media, is not a computing discipline at all, but rather overlaps with computing as a user of computer technology:

The New Media Program at the University of Maine offers an interdisciplinary course of study in the systems, technologies, history, design, and theory of information. The curriculum enables students to investigate the creative and applied processes essential to this area of study. It prepares students to be technologically capable, articulate thinkers, and creative media professionals. [UMaine New Media Web site, newmedia.umaine.edu]

Information Technology (IT)

There is some confusion about another, highly-applied area of computing, information technology. (Note that "information technology" (IT) here differs in meaning from the term as it is used in UMaine's Strategic Plan, where the authors essentially mean "computing.")

The ACM and IEEE, in CC2005, differentiate IS from IT as follows. Whereas the perspective of IS emphasizes information, technology is viewed as an instrument for generating, processing, and distributing information:

Information Technology emphasize the technology itself more than on the information it conveys. IT is a new and rapidly growing field that started as a grassroots response to the practical, everyday needs of business and other organizations. Today, organizations of every kind are dependent on information technology. They need to have appropriate systems in place. These systems must work properly, be secure, and upgraded, maintained, and replaced as appropriate. Employees throughout an organization require support from IT staff who understand computer systems and their software and are committed to solving whatever computer-related problems they might have. Graduates of information technology programs address these needs. Degree programs in information technology arose because degree programs in the other computing disciplines were not producing an adequate supply of graduates capable of handling these very real needs. IT programs exist to produce graduates who possess the right combination of knowledge and practical, hands-on expertise to take care of both an organization's information technology infrastructure and the people who use it. IT specialists assume responsibility for selecting hardware and software products appropriate for an organization, integrating those products with organizational needs and infrastructure, and installing, customizing, and maintaining those applications for the organization's computer users. Examples of these responsibilities include the installation of networks; network administration and security; the design of web pages; the development of multimedia resources; the installation of communication components; the oversight of email systems; and the planning and management of the technology lifecycle by which an organization's technology is maintained, upgraded, and replaced. [CC2005, p.14]

Information technology is not represented on UMaine's campus. There is, in fact, some question as to the suitability of such a major on a university (as opposed to a technical college) campus.

Information Science

There is additional confusion about the term "information science." This in its original sense refers to a specific field that studies the properties of information per se, for example, Shannon's work on information theory. The term, while sometimes used synonymously with "computing" has come to mean the academic study of information representation, storage and use, as opposed or in addition to the computational manipulation of that information.

The School of Computing and Information Science is the home to information science at UMaine. In addition to computer science, the School has a strong emphasis on information science research and graduate education, in particular in the area of geographical information science.

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Computer Science and Computing-Related Fields: What are They and What's the Difference? - Computer Science - University of Maine

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There is a lot of confusion in the general public about what computer science (sometimes referred to as simply "computing") is and how it is different from allied computing-related fields, such as information systems and computer engineering. These are different fields, with different areas of study and different careers and career prospects.

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Football and science have so much in common. Football has passing and kicking ,and they both revolve around trajectory and force. Trajectory and force controls how far the ball is going to go and where it  will go.

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Please ensure you have JavaScript enabled in your browser. If you leave JavaScript disabled, you will only access a portion of the content we are providing. Here's how.

Difficulty

Time Required

Average (6-10 days)

Material Availability

This science project requires a computer with internet access and a digital video camera with a tripod. See the Materials and Equipment list for details.

Safety

Be sure to do this science project in an open area like an empty football field, where you will not hit people or buildings with the ball.

Abstract

Have you ever seen a "Hail Mary" football pass, where the quarterback tries to throw the ball as far as possible to reach the end zone and score a touchdown? Or a last second game tying soccer goal from midfield? How far the ball will go does not just depend on how hard a player throws or kicks it; it also depends on the angle at which the player launches the ball. In this sports science project, you will investigate how launch angle affects the distance that a ball travels by filming volunteers who throw (or kick) a ball and analyze the videos with a motion-tracking software tool.

Note: This science project is written using football as the example, but you could do the project for any sport that involves throwing or kicking a ball.

Objective

Throw (or kick) a football at different launch angles and measure which one results in the longest horizontal distance using a free motion-tracking software program.

Credits

Ben Finio, PhD, Science Buddies

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Excel® is a registered trademark of Microsoft Corporation.

Cite This Page

General citation information is provided here. Be sure to check the formatting, including capitalization, for the method you are using and update your citation, as needed.

MLA Style

Science Buddies Staff. "How Far Can You Throw (or Kick) a Ball?" Science Buddies, 28 July 2017, https://www.sciencebuddies.org/science-fair-projects/project-ideas/Sports_p036/sports-science/how-far-can-you-throw-or-kick-a-ball. Accessed 30 May 2018.

APA Style

Science Buddies Staff. (2017, July 28). How Far Can You Throw (or Kick) a Ball? Retrieved from https://www.sciencebuddies.org/science-fair-projects/project-ideas/Sports_p036/sports-science/how-far-can-you-throw-or-kick-a-ball

Last edit date: 2017-07-28

Introduction

Note: This science project is written with throwing a football as an example, but you can adapt this project to work with any sport where you throw or kick a ball. The only exception would be if the ball is too small to easily see on a camera from a distance, like a golf ball.

You might not think that a football game and your science class have anything in common. But if you watch football, you know that the football is often launched through the air; it can be thrown, kicked, or punted (see Figure 1). Any object that is launched through the air is called a projectile. A football, a cannonball, a rock fired out of a slingshot, or a crumpled up wad of paper you throw across the room are all examples of projectiles.

The study of how projectiles move through the air is called projectile motion. As the projectile moves, it is affected by the forces of gravity and air resistance. When there is zero air resistance, a projectile moves in a path called a parabola. When there is air resistance (which always happens here, due to Earth's atmosphere, but would not happen somewhere like the Moon, where there is no atmosphere), a projectile does not move in a perfect parabola, but its path is still very close to one.

Understanding projectile motion can be very important in a game like football, where, depending on the play, you might need to throw a ball into the end zone, kick it through the field goal posts, or punt it high into the air. In this science project, you will focus on the best way to throw the ball as far as possible, like for a game-winning touchdown play.

The horizontal distance a projectile travels before it hits the ground (or, more simply, how far the ball will go when you throw it) is called its range. The range of a projectile depends on three things: its initial speed, its launch angle, and the initial height above the ground. Initial speed is how fast the ball is going the moment it leaves the quarterback's hand. If you throw the ball harder, it will have a higher initial speed. Launch angle is the angle the ball is traveling relative to the ground right when it is thrown. A launch angle of 0° means a ball is thrown straight out, parallel to the ground. A launch angle of 90° means a ball is thrown straight up, perpendicular to the ground. The initial height is the distance between the ball and the ground, the moment it leaves the thrower's hand. Figure 2, illustrates range, initial speed, launch angle, and initial height.

Can you think about how initial speed, launch angle, and initial height will affect the range of a projectile? The relationship between initial speed and range might seem obvious-if you throw a ball harder, it will go farther. There is also a pretty simple relationship between initial height and range - if a ball starts off higher above the ground, it will go farther.

What about launch angle? Is it immediately obvious what launch angle will give the farthest range? In this sports science project, you will specifically do an experiment to find out the best launch angle to give the longest possible range (while doing your best to keep the other variables constant). Do you think there is an "ideal" launch angle that will give the longest possible range?

Terms and Concepts

Questions

How do forces like gravity and air resistance affect a football as it moves through the air?

What is a parabola? What is the difference between a parabola and a circular arc?

What happens to the range of a projectile if you increase its initial speed, while you keep the initial height and launch angle constant?

What happens to the range of a projectile if you increase its initial height, while you keep the initial speed and launch angle constant?

How do you think launch angle will affect the range of a projectile? For example:

How far will the ball go (horizontally) if you throw it straight forward (a launch angle of 0°)?

How far will the ball go (horizontally) if you throw it straight up (a launch angle of 90°)?

How far will the ball go (horizontally) if you throw it diagonally (at an angle of about 45°)?

What angle do you think will give the longest range?

Bibliography

Materials and Equipment

Football; available from a local sporting goods store or Amazon.com.
Note: You can do this science project for any sport that involves throwing or kicking a ball. The only requirement is that the ball has to be big enough to easily see when using a video camera from far away. For example, a soccer ball would work very well, but a golf ball would not.

Digital video camera
If you want to use a cell phone to record video, make sure to use a phone with a reasonably high-quality camera. You will also need to be able to mount the phone on a tripod, which may require an adapter.

Tripod; available from Amazon.com.

At least 3 volunteers to throw the football

Large, open area in which to throw the ball (like an empty football field)

Computer with internet access, and permission to install programs

Measuring tape

Lab notebook

Remember Your Display Board Supplies

Experimental Procedure

Reminder: This procedure is written assuming you will be throwing a football, but you can adapt the project to work with kicking or punting a football, or for another sport, like soccer or basketball.

Collecting Your Data

1. Bring your football, camera, tripod, lab notebook, pen or pencil, and three volunteers to a large, open area where you can safely throw the football without hitting other people or buildings. Note: Don't forget to charge your camera beforehand, and make sure it has its memory card.

2. Set up your camera on the tripod so its view is perpendicular to the direction in which your volunteers will be throwing the football, as shown in Figure 3. This is important so the projectile's path will not be distorted when you track it using motion-tracking software later.

1. Make sure your camera is far enough away that you can capture the entire parabolic motion of the ball in the camera frame, without moving or re-aiming the camera. You will need this to analyze your data in the motion-tracking software later.

1. Have a volunteer stand all the way on the left edge of the view frame from your camera. Make sure he/she is still visible in the frame and does not walk off-screen.
Throwing from left to right will make your data consistent with the convention that the x-axis (or horizontal axis) in an x-y plot is positive to the right and negative to the left.

2. Have the volunteer throw the ball as far as he/she can (to your right), while you are looking at the viewfinder or preview screen in your camera.

1. If the football goes off the top edge of the screen, or goes off the right side of the screen before it hits the ground, then your volunteers need to be farther away from the camera.

2. Move your tripod backwards (or ask your volunteers to stand farther away) and repeat this process until the ball never leaves the camera frame.

2. Explain to your volunteers that you will be asking each of them to throw the football as hard as they can at three different angles: a shallow angle, a medium angle, and a steep angle. These angles should correspond to roughly 15°, 45°, and 75°, as shown in Figure 4.

1. If you printed a copy of this procedure, show Figure 4 to your volunteers.

2. If anyone has a smartphone, you can view the project directions online and show Figure 4 to your volunteers.

3. Explain to your volunteers that it is okay if they cannot control the angle of each throw exactly. Even a professional quarterback could not do this! It will be easier to think about each type of throw qualitatively:

1. A "shallow" throw is almost straight out, but angled a little bit upward.

2. A "medium" throw is diagonal, out and upward.

3. A "steep" throw is almost straight up, but also a little bit forward.

4. Remind your volunteers that it is important that they throw the ball using the same method each time. For example, do not switch between throwing the ball overhand and underhand.

5. Explain to your volunteers that it is very important that they consistently throw the ball as hard as they can. Remember that initial speed can have an impact on a projectile's range. You only want to test launch angle as an independent variable in this experiment, so you want to keep initial speed as consistent as possible for each volunteer.

6. Remember that initial height also affects a projectile's range. You will look at the data individually for each volunteer, to account for any large differences in height (small differences in height will not matter very much) or large differences in initial speed between volunteers.

1. Record data for your first volunteer.

1. Tell your volunteer he/she will throw the ball 5 times at each angle, for a total of 15 throws.

2. Record a video for each throw. Be sure to start the camera before the volunteer throws the ball, and stop it after the ball hits the ground.

1. Always make sure your volunteer throws from left to right on the camera.

2. At the beginning of each video (before the volunteer throws the ball), make an announcement so you know which trial you are on. This will help you keep track of your videos later. For example, you could say "(Volunteer's name), shallow angle, first throw" for the first trial, and "(Volunteer's name), steep angle, fifth throw" for the last trial.

3. If the volunteer ever has a particularly bad throw (for example, they really mess up the intended angle, or accidentally do not throw the ball as hard as they can), delete the video and redo the trial.

2. Repeat step 5 for each remaining volunteer. You should have a total of 45 videos, 15 for each volunteer.

3. Before you leave, measure and record each volunteer's height, in meters, in your lab notebook, using a table like Table 1. You will need this information later when you analyze your videos. If necessary, you can use an online unit conversion tool to convert feet and inches to meters.

Table 1. A data table in which to record each volunteer's height. If you initially record the heights in feet and inches, make sure you convert them to meters later.

Analyzing Your Data

Create a data table like Table 2.
Optional: Using a spreadsheet program like Microsoft® Excel® will make it easier to graph your data later.

Volunteer Name

Launch Angle (Shallow, Medium, Steep)

Throw #

Actual Angle (degrees)

Range (meters)

Table 2. A data table to keep track of your results. For three volunteers and 15 throws each, your table will need a total of 45 rows.

1. Transfer your movie files from your video camera to your computer.
Your video camera probably assigned file names to your videos, such as "MVI_0001.mov" or "VID_001.mts" (the file extension will vary depending on the camera). You should rename your video files based on each trial, to help you keep better track of them later. For example, you could rename your files using the convention "volunteername_angle_trial#.mov", e.g. "Susie_shallow_1.mov".

2. Follow the instructions at http://www.cabrillo.edu/~dbrown/tracker to download and install the Tracker Video Analysis and Modeling Tool, from now on just referred to as "Tracker."

1. Tracker is a program that lets you play a video file back frame-by-frame. In each frame, you can click on the ball, and Tracker will save its horizontal and vertical position as a pair of (x,y) coordinates. This makes it easy to track the trajectory of your ball.

2. Note: This procedure will provide some general instructions for using the Tracker program, but is not a step-by-step tutorial for using Tracker. If you are having a difficult time using the program, you can ask an adult for help, and read theGetting Started instructions on the Tracker website.

3. In Tracker, select File → Open and open your first video file. You should see a screen like Figure 5.
Note: This science project was written in November 2013 using Tracker Version 4.82. Future versions of Tracker may not look exactly like what is shown in Figure 5. If at any point these instructions do not match what you see in your Tracker window, check the Tracker help instructions by selecting Help → Tracker Help from the top menu bar.

Create a calibration stick. Once your calibration is done, the distances indicated in Tracker will correspond to the real-life distances.

1. From the top menu bar, select Tracks → New → Calibration Tools → Calibration Stick.

2. This creates a new calibration stick in the middle of your screen. The default length is 100 units.

3. Drag the ends of the calibration stick so it measures the height of your volunteer in the video, as shown in Figure 6.
You can use your mouse's scroll wheel to zoom in and out on the video if necessary.

4. In the text box next to the calibration stick (or the Calibration Stick menu at the top of the screen), enter the volunteer's height in meters, as shown in Figure 6.

5. If you need more help using the calibration stick, select Help → Tracker Help from the top menu bar, then Calibration Stick from the left menu in the pop-up help window.

Set the origin of the coordinate system.

1. Click the "Show or hide the coordinate axes" button in the top toolbar, as shown in Figure 7.

2. This will display a set of coordinate axes on screen, like in Figure 8.

3. Click and drag the origin of the coordinate system toward your volunteer.

4. Use the playback control toolbar at the bottom of the screen to advance to the point where your volunteer throws the ball. Stop on the first frame immediately after the ball leaves the volunteer's hand. Drag the origin of the coordinate system onto the center of the ball, as shown in Figure 8.

5. To read more about setting coordinate systems in Tracker, select Help → Tracker Help → Coordinate System.

6. Note: Depending on the type of digital camera and the recording mode you used, you may need to apply a deinterlacing filter to your video. See Figure 9.

1. To apply a deinterlacing filter, select Video → Filters → New → Deinterlacing. Select either Odd or Even (depending on which one makes your video look better), then click "Close."

2. To learn more about deinterlacing filters, select Help → Tracker Help → Video filters.

Figure 8. Coordinate system axes displayed in magenta on the screen. By default, the axes are centered in the middle of your video (top image). You need to click and drag the origin of the axes onto the center of the football in the first frame where it leaves the volunteer's hand completely (bottom image).

1. Save your work! Clicking the "Save" button in the upper left will allow you to save your setup so far, including the calibration stick, coordinate axes, and deinterlacing filter (if any), as a "tracker" file with the extension ".trk". Be sure to give the file a name that makes sense (e.g. the same naming convention as your video files) when you save it.

2. Track the location of the ball.

1. From the top menu bar, select Tracks → New → Point Mass. This will create a new tracked object in the file, which you will use to follow the ball's position in each frame.

2. If you are not there already, use the playback controls to move the video to the first frame after the ball leaves the volunteer's hand.

3. Zoom in on the ball using the mouse scroll wheel. Hold down the "Shift" key and click on the center of the ball. This will mark the ball's location and automatically move the video to the next frame.

4. Keep holding down "Shift" and clicking on the center of the ball in each frame, until the ball hits the ground.

5. Remember to periodically save your work!

6. Click the "Set trail length" button in the top menu bar and select "All steps," shown in Figure 10.

7. Your Tracker window should now look something like Figure 11.

1. Use the data table in Tracker to record the range.

1. The lower right-hand corner of the Tracker window has a table with columns labeled "t", "x", and "y". They stand for time (in seconds), x position (in meters), and y position (in meters).
Note: There are small arrow buttons that can minimize the "Table" area. If you do not see the table at all, you may have accidentally minimized it. Ask an adult for help or read the Tracker help files to find out how to re-open the table.

2. Scroll down to the end of the table and look at the very last "x" value. This is the horizontal distance your ball traveled before it hit the ground. Record this value under "Range" in the data table you made in step 1 of this section.

2. Use the Protractor tool to measure the launch angle.

1. From the top menu bar, select Tracks → New → Measuring Tool → Protractor. This will bring up a protractor on the screen.

2. Click and drag the protractor to measure the launch angle of the ball, by measuring the angle between the first two tracked points and the horizontal coordinate system axis, as shown in Figure 12.
To learn more about protractors, see Help → Tracker Help → Protractor.

3. Enter the launch angle in your data table.

1. Export the tracking data. Tracker allows you to make graphs and analyze only one video file at a time. For this science project, you will need to make graphs to compare multiple trajectories at once. To do so, you will need to export the data to a format you can use in another spreadsheet program, like Microsoft Excel.

1. From the top menu bar, select File → Export → Data file...

2. In the window that pops up, make sure you have the following options selected:

1. Data Table: Mass A

2. Cells: All Cells

3. Number Format: As Formatted

4. Delimiter: Comma

3. Then, click "Save As", and save the data file as a comma-separated variable, or csv file.

1. Important: Tracker does not automatically add the file type extension. You will need to type ".csv" after your file name.

2. Use the same file-naming convention you have used for your videos and Tracker files, e.g. "volunteername_angle_trial.csv".

2. Repeat steps 4-11 for each of your remaining videos. Here is a summary of the steps:

1. Open a new video file.

2. Create a calibration stick.

3. Set the origin of the coordinate system.

4. Save your work frequently! Remember to stick with your file-naming convention.

5. Track the location of the ball.

6. Record the ball's horizontal range.

7. Use the Protractor tool to record the launch angle.

8. Record your data in your data table

9. Export the tracking data as a .csv file.

3. Analyze your results.

1. Use your data from Table 1 to create a scatter plot with launch angle on the x-axis and range on the y-axis.

1. Color-code the data for each volunteer so you can tell them apart. This is because you should not directly compare data between different volunteers; different throwers might have different initial heights or initial speeds for the ball, meaning the comparison would not be valid.

2. Do you notice a trend in the data? Does it look like there is a launch angle (or angles) that tend to give the longest range?

3. How does this trend (if any) line up with your prediction about the relationship between launch angle and range?

2. Use your saved .csv files to make plots of each ball's trajectory.

1. Import the .csv files into a spreadsheet program like Microsoft Excel. This may be easiest if you import each file into a new tab. Ask an adult if you need help.

2. For each volunteer, make a line graph including each throw's trajectory, with horizontal position (in meters) on the x-axis and vertical position (in meters) on the y-axis.

3. If you make one graph for each volunteer, with all of their throws on one graph, you should have three graphs, each with 15 lines. Making one graph for each volunteer will help you account for possible differences in initial height and speed of the ball between different volunteers.

4. Color-code the lines by launch angle. For example, you could use blue for "low" angles, green for "medium" angles, and red for "steep" angles.

5. Do you see an obvious difference in the trajectories of the balls for the different launch angles? Does one group of launch angles tend to make the ball go farther before it hits the ground?

Communicating Your Results: Start Planning Your Display Board

Create an award-winning display board with tips and design ideas from the experts at ArtSkills.

If you like this project, you might enjoy exploring these related careers:

Variations

Repeat the experiment using a different method of launching the same ball. For example, compare throwing, kicking, and punting a football. Is the best angle to achieve the longest range the same in all three cases?

Do the experiment to compare two different sports; for example, kicking a soccer ball versus kicking a football. Is the best angle to achieve the longest range always the same for each sport?

Think of a way to have your volunteers keep their launch angles as constant as possible, and vary the ball's initial speed instead. You can use Tracker to measure the ball's initial speed (read the Tracker help files to find out how).

In the Introduction, you learned that the range of a projectile depends on its launch angle, initial speed, and initial height. If you assume the initial height is the same as the final height, the range can be expressed using Equation 1 (the equation is more complicated if the initial and final height are different):

Equation 1: [Please enable JavaScript to view equation]

R is the projectile's range in meters (m)

v₀ is the projectile's initial speed in meters per second (m/s)

g is acceleration due to gravity, 9.81 meters per second squared (m/s²)

θ is the projectile's launch angle in radians (rad)

Can you use this equation to predict the football's range, based on the launch angle and initial speed you measure in your video? How does the predicted range compare to the actual measured range, and what could account for any difference?

Can you use the equations of projectile motion to predict what launch angle should give the longest horizontal range?
Remember to account for any elevation difference between where the ball starts and where it hits the ground. For example, the answer is different if you are kicking a football off the ground (initial height of 0 m) versus throwing it (initial height of about 2 m).

Can you fit a quadratic equation to the (x,y) coordinates of your trajectories? How close are they to a perfect parabola, and what role do you think air resistance plays in the difference (if there is one)?

Ask an Expert

The Ask an Expert Forum is intended to be a place where students can go to find answers to science questions that they have been unable to find using other resources. If you have specific questions about your science fair project or science fair, our team of volunteer scientists can help. Our Experts won't do the work for you, but they will make suggestions, offer guidance, and help you troubleshoot.

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Please ensure you have JavaScript enabled in your browser. If you leave JavaScript disabled, you will only access a portion of the content we are providing. Here's how. Difficulty Time Required Average (6-10 days) Material Availability This science project requires a computer with internet access and a digital video camera with a tripod.

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Science relates to soccer in many ways whether its when the ball is flying, spinning, or even just rolling on the ground. If you take a shot in soccer, even a tiny adjustment to your technique can change the ball's trajectory by a lot. the following link explains a lot.

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The behaviour of racquets and balls is governed mainly by Newton's three Laws of Tennis. These laws are fully explained in our book The Physics and Technology of Tennis. The following is a summary of a few topics of interest to give you a flavour of how physics relates to sport and to the real world of everyday objects.

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Soccer relates to science by physics. The balls changing looks, and its surface roughness leads to an understanding of how reduced air density at games played at higher altitudes, can end up making amazing ball trajactories.

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Science and soccer have so much in common. There is a lot of physics involved in this sport. For example the surface of the ball, the way it is kick will, and the wind willtell the way the ball goes once it leaves the players foot.

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With the attention of sports fans worldwide focused on South Africa and the 2010 FIFA World Cup, U.S. scientist John Eric Goff has made the aerodynamics of the soccer ball a focus of his research.

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Basketball requires science, when shooting a jump shot it requires pressure, motion, trajectory, and force. These are just some of the few science related things you use in this unique sport.

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Next time the kids head out to practice their shots, consider this: there are scientific principles involved in every shot! Trajectory, force, gravity, energy, motion, air pressure, percentage -injecting a little bit of science into summertime fun can be as simple as asking the right questions when you are out on the court and then putting a few of those ideas into action.

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Art  is related to science cause both uses ideas and hypotheses."Tested in places where mind and hand come together".That means that art and science both use had.

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The Enduring Relationship of Science and Art

Science and art naturally overlap. Both are a means of investigation. Both involve ideas, theories, and hypotheses that are tested in places where mind and hand come together—the laboratory and studio. Artists, like scientists, study—materials, people, culture, history, religion, mythology— and learn to transform information into something else. In ancient Greece, the word for art was techne, from which technique and technology are derived—terms that are aptly applied to both scientific and artistic practices.

Art and Scientific Investigation in Early-European Art
Leonardo da Vinci, painter and draftsman of the High Renaissance, is best known as an artist whose works were informed by scientific investigation. Leonardo observed the world closely, studying physiology and anatomy in order to create convincing images of the human form. He believed that the moral and ethical meanings of his narrative paintings would emerge only through the accurate representation of human gesture and expression. For this Christian artist, science and art were different paths that led to the same destination—a higher spiritual truth. His Sketch of Uterus with Foetus (c. 1511–13) is one of several thousand drawings he produced in his lifetime in which artistic and scientific investigation are bound together. These extraordinary drawings are revered as examples of the Renaissance concept of the integration of all disciplines.

The Astronomer (1668) by Dutch painter Johannes Vermeer is another example of the profound connection between science and art. The people of 17th-century Netherlands had an exploratory spirit. Equally interested in this world and the larger universe, the familiar and the exotic, they were intent on looking and investigating. It was here in the early 17th century that the microscope and telescope were first developed. Vermeer's painting celebrates an astronomer. Yet it equally celebrates the work of artists and the materials of this world. The painting hanging on the back wall was created by a local artist; the Middle Eastern carpet on the table was crafted by a foreign artist; Vermeer's own paints (ground mineral pigments mixed with linseed oil) and brushes were produced by local artisans. The globe at which the astronomer gazes evidences the link between science and art most pointedly, for it demonstrates this astronomer's—and his culture's—combined interest in finely crafted objects and scientific systems, such as cartography and astronomy.

The Science of Color in 19th-Century Painting
In the late-19th and early-20th centuries, the physiological, psychological, and phenomenal effects of color and light were of primary concern to Impressionist and Post-Impressionist artists such as Edgar Degas (1834–1917), Vincent van Gogh (1853–1890), Auguste Renoir (1841–1919), Paul Gauguin (1843–1903), and Claude Monet (1840–1926). Considered by many to be the greatest nature painter in modern-art history, Monet suggested that our sense of our physical environment changes continuously with our shifting perceptions of light and color. In On the Bank of the Seine, Bennecourt (1868), a painting of his wife-to-be, Monet captures a fleeting "impression" of the landscape through loose brushwork and composition. His impression is pre- cognitive—before the mind labels, identifies, and converts what it sees into memory. Tellingly, the woman in the painting looks not at the house and trees across the river, but down at their wavering, upside-down reflections in the river, a perspective that echoes the process of perception itself. Images in the form of light enter the eye, an orb with a nerve-sensitive background. As light penetrates, it is inverted and projected onto the back of that light-sensitive orb, where the brain processes the information. Monet's painting captures the vibration between impression and perception—the contingent moment. It conveys a sense of trembling as the light and color of the landscape shift and time passes.

A number of years after Monet's Bennecourt, Georges Seurat began painting A Sunday on La Grande Jatte— 1884 (1884–1886) (above). As an art student at the Academy of Fine Arts in Paris, he studied the physics of color, and this enormous painting is an exercise in color theory. Unlike Renaissance and Dutch artists, Seurat and Monet did not mix their own paint. They benefited from breakthroughs by French chemists in the early 19th century who had invented both premixed paints packaged in tubes and synthetic pigments, such as ultramarine blue, which previously had been made from ground lapis lazuli and was, therefore, the most expensive pigment. Neither Seurat nor Monet, with little money in their pockets, could have created their blue-filled, experimental works without the scientific breakthroughs earlier that century.

Using these new paints, Seurat invented a technique called Pointillism to investigate how adjacent colors blend when taken in by the eye. Up close, the surface of his painting contains thousands of painted dots and dashes, discrete areas of color. But Seurat placed these dots of complementary colors next to each other—purple and yellow, orange and blue, green and red—so that at a distance they interact to create vibrant blended colors and larger, whole forms. Carrying his scientific approach to color theory to the edges of the image, Seurat represented the range of the visible spectrum in the painting's border dominated by red and blue.

20th-Century Art and Science
Pablo Picasso's (1881–1973) portrait of art dealerDaniel-Henry Kahnweiler (1910) combines Monet's ideas about the contingency of time and Seurat's theory about the perception of discrete elements. Here, Picasso breaks up the figure and objects in his composition in the style known as Cubism. Instead of rendering his subjects as distinctly recognizable forms, he paints them from several points of view. Kahnweiler's head, suit, watch fob, and hands, as well as the still life to the left and the decorated wall behind, remain identifiable, but these elements have been broken up into flattened planes and rearranged across the picture surface. Painted just a few years after Albert Einstein put forth his theory of relativity, which asserts the contingent nature of observing reality, Picasso's work similarly illustrates the elusive presence of his subject—Mr. Kahnweiler. Picasso's Cubist painting style, like studying Einstein's scientific theory, requires careful analysis, but it rewards the viewer's effort with perception and understanding.

The invention of photography in the middle of the 19th century was a technological wonder—artistically and scientifically. The practice of oxidizing and fixing images on light-sensitive paper or a metal plate posed a great challenge to painters, who had historically been charged with the task of providing their culture with images of itself and the world around them. People believed this new medium could represent the world accurately and more quickly. Ansel Adams (1902–1984) one of the most extraordinary photographers of the North American landscape, used his camera to capture the spirit and beauty of the American West. His majestic vistas of mountains and rivers, such as The Tetons and the Snake River, Grand Teton National Park, Wyoming (1942), embraced the bond between man and nature while recording with astonishing technical accuracy the phenomenal effects of light and atmosphere.

Today, light-and-space artist James Turrell seeks to link the terrestrial and celestial realms in his work at Roden Crater, a natural cinder volcano situated on the southwestern edge of the Painted Desert in northern Arizona. Since 1972, Turrell has been transforming the crater into a large-scale artwork by subtly manipulating and reshaping its form. Like Renaissance artist Leonardo da Vinci did, Turrell uses his knowledge of engineering, and, like Seurat and Monet, he employs his knowledge of the effects of light and space. When Turrell completes his gigantic project, visitors standing in the middle of the crater on the reflective material with which the artist has lined it will feel suspended between the sky and earth.

There has long been a connection between art and science, one that can be traced back to the Egyptian pyramids. History proves that the two disciplines cannot exist without each other, enduring in constantly changing and evolving relationships.

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The Enduring Relationship of Science and Art

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Science and art naturally overlap. Both are a means of investigation. Both involve ideas, theories, and hypotheses that are tested in places where mind and hand come together-the laboratory and studio. Artists, like scientists, study-materials, people, culture, history, religion, mythology- and learn to transform information into something else.

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Theater and science have much in common. Science is about design, debate, and discovering new things that could change the world. Science can be used to figure out how to design sets and create technology to make onstage performances look even more realistic.

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Prof. Ksander and Marisa Kanai '15 work on shadow theatre performance of Gilgamesh for Theatre 396, Puppetry and Performing Objects. Photo by Leah Nash

Prof. Peter Ksander uses the stage as a laboratory

By Randall S. Barton

If Friar Laurence had been able to communicate via cell phone instead of by letter, his message might have reached Romeo in time to explain the truth about Juliet and stop him from drinking the cup of poison. Technology has the power to shape-and reshape-drama.

"The glowing rectangles we live with are changing our relationships," says Prof. Peter Ksander [theatre 2011-]. "Theatre mirrors our life."

Technology played a role in Ksander's winning an award in October for outstanding visual design at the Bessie Awards in New York. He shared the award with the video designer, the lighting designer, the costume designer, and the interactive technology designer on the New York production This Was the End, which stars four actors in their 60s trying to alter the outcome of Chekhov's play Uncle Vanya.

The Bessies recognize exceptional work in dance and performance and singled out this production for "a theatre set seamlessly doubled by video projections, echoing the role of memory with its odd tricks and resurrections."

Prof. Ksander built the set from a wall with cabinets salvaged from a New York public school. Actors were videotaped in and around the wall and that footage was projected directly onto the matching set during live performances, forming ghost images of the characters opening cabinets and running around the wall.

Ksander has loved creating imaginary worlds since he was a boy playing with Star Wars action figures. By the time he was studying for an MFA at the California Institute of the Arts, he realized that his interests in science, history, cartography, art, carpentry, and building codes could be fused into a single discipline-theatre.

He developed his practice in New York City, working first as a freelance designer, primarily in experimental downtown theatre. He designed sets and lighting for the National Theatre of Hungary, the Walker Art Center, Portland's Time-Based Art Festival, the Public Theater, and the Brooklyn Academy of Music. In 2008 he won an Obie award for the scenic design of Untitled Mars (this title may change). He also served as a curator for the Ontological-Hysteric Theater and the Incubator Arts Project, and has had continuing artistic relationships with the Theatre of a Two-Headed Calf, TENT, Stillpoint Productions, Restless NYC, and Banana Bag and Bodice.

While working with the Ontological-Hysteric Theater in New York, he noticed a T-shirt the stage manager, Brendan Regimbal '04, was wearing.

"What's Renn Fayre?" he asked, eyeing the shirt. Reed College had come onto his radar. Some time later when Peter decided to teach theatre, he spied an opening for a job at Reed. "That's the place where Brendan went," he said to himself. "That's a place I could be."

As a teacher at Reed, Ksander finds theatre is an excellent laboratory for the investigation of hypotheses. What does it mean to be a human in a particular time or situation? How do we inhabit space and time?

"Experimental theatre is not a style and has nothing to do with content," he explains. "It's more of a process borrowed from the sciences. What are the effects of putting walls in a certain configuration and what does that do to your experience? We use the methodology of experiment-hypothesis, test, and analyze results. Did it work? Did it not work?"

One of Ksander's main interests is history. While historians typically focus on sweeping political, social, and economic trends, theatre looks at the moments when things change.

"Theatre looks at potentials, what might have been, and how tenuous every moment in history is," he says. "Huge events often hinge on small things."

He cites the unhappy accident of the Archduke Franz Ferdinand's escaping one assassination attempt only to have his driver take a wrong turn. The car came to a stop in front of Gavrilo Princip, a tubercular revolutionary, who shot the archduke and his wife at point-blank range, triggering the First World War.

Designing a set is creating a crucible for a performance, Ksander says, in the sense that it is a chamber that amplifies the heat and reflects it inward.

"I try to create the conditions that amp up and intensify the performances," he says. "You can't get out of this container and the heat is going up and up and up."

Ksander teaches intro theatre, stage design, lighting design, and combining performance with technology. In his conference-lab classes, students investigate theories and methods used to represent designs.

"Writing a paper is not the most efficient way to convey your design ideas," Ksander explains. "I have to teach tools such as drafting, collage work, and model building-paper projects, we call them."

Last fall he taught a course in visual performance narratives-how to create a narrative without dialogue.

"Peter always reminds us that we don't have to communicate solely with words," says Rennie Meyers '15 . "Visual narratives can evoke responses in a new, dynamic way. It's a welcome reprieve from the written word."

Last year Ksander cotaught a class in which students used shadow puppets to perform the Epic of Gilgamesh.

"Shadow puppetry combines all kinds of different things I'm interested in," Peter says. "It meshes both lighting and set design. Things that are difficult to express on stage-such as scale and things that are epic-are easy in shadow puppetry. Changes of location can be instantaneous in light and shadow."

Making theatre has traditionally required that participants come together in the same room. Ksander is interested in reframing his practice so that "being in the room" might be accomplished in new ways.

For instance, instead of beginning with a script and designing a space to enclose it, he proposes a production that might begin with designing the space and then figuring out, "What happens in it?" He is currently collaborating on a project where artists work independently on the text, movement score, and object score, and then layer them together.

Experimental? Definitely. But theatre is at its core an experimental enterprise, each performance a unique slice of time, space, and witnesses. "You can draw a circle around it, say 7:30 on Thursday night in this place," Ksander says. "Those moments in time and space will never be the same again. The next night we'll attempt to do it again, but it will be the next night."

After all, theatre may be a kind of science, but it is not an exact science.

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Prof. Ksander and Marisa Kanai '15 work on shadow theatre performance of Gilgamesh for Theatre 396, Puppetry and Performing Objects. Photo by Leah Nash By Randall S. Barton If Friar Laurence had been able to communicate via cell phone instead of by letter, his message might have reached Romeo in time to explain the truth about Juliet and stop him from drinking the cup of poison.

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The Internet has advanced science in many different ways. Prior to the internet science could not even be dreamed as something that could ever be done across the world, the internet has not only helped us with studies and different polls it has advance the way science is done as a whole.

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Scientific Collaboration on the Internet

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The challenges and rewards of scientific collaboration enabled by information and communication technology, from theoretical approaches to in-depth case studies. Modern science is increasingly collaborative, as signaled by rising numbers of coauthored papers, papers with international coauthors, and multi-investigator grants.

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we are simply addicted to to doing nothing all day long i mean lets not lie i did it all summer

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I sat down with my computer recently to stream an episode of "Making A Murderer," Netflix's engaging and enraging true crime docuseries about Steven Avery, who may have been framed for murder-not once, but twice-by his small-town Wisconsin police department. More accurately, I'd planned to watch one episode; instead, I ended up watching five. That means for roughly five hours, I streamed one installment after another, unable to tear myself away even as the night wound itself into the wee hours of the morning. Before the credits were done rolling on each episode, I'd find myself clicking on the next, launching it before Netflix's autoplay feature could even finish its 15-second countdown.

When it comes to this kind of obsessive series consumption, I'm definitely not alone. The term "binge-watch," the shorthand descriptor for long periods spent watching, is so ubiquitous that Collins Dictionary declared it 2015's " word of the year." In September, Samsung offered a grant that would pay its recipient-some poor soul "unfortunate enough to have fallen behind on the latest TV series"-to spend 100 days doing nothing but binge-watch television. Netflix reports that nearly 75 percent of viewers who streamed the first season of "Breaking Bad" completed all seven episodes in a single session, a figure that rose to 81 and 85 percent for seasons two and three. And TiVo's annual Binge Viewing Survey found that 92 percent of respondents said they had engaged in binge watching at some point in 2015.

Our love of television is well established, and has long been one of our most wildly popular national (and studies show, international) pastimes. But in recent years, there's been a distinct shift in how we connect with the medium. That connection has grown so deep that many of us regularly find ourselves spending hours, days and entire lost weekends taking in our favorite shows.

In some ways, binge watching is simply the result of audiences taking advantage of new technologies that give us new ways of consuming our entertainment. Until the late 1990s, TV schedules were mostly dictated by networks. Your favorite show was likely broadcast once a week at a certain time, and if you missed it, you had to catch it in reruns. There were occasional marathons, when multiple episodes of a series would be re-aired, but watching back-to-back new episodes of a show was rarely an option.

Then came TiVo and other DVRs, DVD box sets, On Demand cable television, and finally, streaming services like Hulu and Amazon Prime. These innovations mostly allowed audiences to watch and rewatch beloved programs at their leisure. But it wasn't until 2013, when Netflix made the groundbreaking decision to simultaneously release all 13 episodes of its first original series, "House of Cards," that binge watching really took off. Though the streaming site is notoriously mum about ratings, estimates suggest 1.5 to 2.7 million people watched "at least one episode the day after its release." Those numbers helped support what Netflix's own internal metrics and trendwatching had already gathered: people like to watch television precisely when they want, as long as they want. And demand is strong enough that if you provide plenty of supply, they'll often watch far longer than they intended to.

We make time for the things we love, and TV is among the dearest of those. Americans spent increasing hours at work last year, yet studies show they also managed to squeeze in more television watching. While ratings for live TV- the old-timey "same time, same channel" sort-have been on a steady decline, online streaming and subscription services have only seen their numbers rise. An Adobe study of Americans' television viewing habits found "total TV viewing over the Internet grew by 388 percent in mid-2014 compared to the same time a year earlier." Given the option to watch television as our hectic modern schedules permit, we prove ourselves committed and voracious consumers.

In fact, a few months after its success with "House of Cards," Netflix released survey findings compiled by Harris International that further proved binge watching is not only commonplace, it's the way we want to watch TV. Sixty-one percent of survey respondents-nearly 1,500 American adults who stream TV programs at least once a week-said they binge watched with regularity. Seventy-nine percent of those polled said "watching several episodes of their favorite shows at once actually makes the shows more enjoyable." And 76 percent reported that "streaming TV shows on their own schedule is their preferred way to watch them."

But binge watching isn't just the end result of audiences having agency in when and how long they can watch. In some ways, the phenomenon offers yet more proof of what we already knew about our relationship with TV: that watching it just feels good. In their 2003 report "Television Addiction Is No Mere Metaphor," Robert Kubey and Mihaly Csikszentmihalyi found that TV has a soothing effect on watchers, offering an escape from their frantic workaday lives. (Seventy-six percent of participants in the Harris-Netflix poll said "watching multiple episodes of a great TV show is a welcome refuge from their busy lives.") The researchers write that study participants reported they felt calmer and more relaxed "[w]ithin moments of sitting or lying down and pushing the power button," and that "[b]ecause the experience of relaxation occurs quickly, people are conditioned to associate watching TV with rest and lack of tension."

Kubey and Csikszentmihalyi also posit that television likely sparks our "orienting response," an innate biological compulsion to coolly observe sudden sound and movement to assess for potentially harmful threats. They point to studies that suggest television, with its "cuts, edits, zooms, pans [and] sudden noises," not only triggers this response, it may play a role in keeping us riveted. The evolutionary compulsion affects our entire physiology, causing "dilation of the blood vessels to the brain, slowing of the heart, and constriction of blood vessels to major muscle groups. Alpha waves are blocked for a few seconds before returning to their baseline level, which is determined by the general level of mental arousal. The brain focuses its attention on gathering more information while the rest of the body quiets." Amidst so much physical stimulation, Kubey and Csikszentmihalyi suggest, may lie the reasons people often find themselves unable to resist looking at any blinking TV in their vicinity.

But we're more than just our reptilian brains, startled into watching for hours by mere moving shapes and loud noises. A more complex neurological response helps explain not only why we watch TV, but why we find certain programs more compelling than others. The answer lies in neurocinematics, an emerging field of study that examines how our brains react to film and television and what kinds of storytelling captures our undivided attention. In his oft-cited 2008 study, Princeton University psychology professor Uri Hasson showed volunteers clips from "Curb Your Enthusiasm"; the late '50s TV show "Alfred Hitchcock Presents" ("Bang! You're Dead"); Sergio Leone's The Good, the Bad and the Ugly; and an unedited, one-shot video of a concert held in New York City's Washington Square Park. Hasson and his research team were looking to determine "inter-subject correlation"-essentially, how much each clip successfully commanded the attention of all the participants involved.

MRI snapshots of subjects' brains during screenings offered illuminating insights into our neurological response to both filmmaking methods and storytelling craft. Researchers found the Washington Square Park video engaged less than 5 percent of participants' cerebral cortices and "Curb Your Enthusiasm" just 18 percent. Leone's more cinematic The Good, the Bad and the Ugly fared far better, producing similar responses across 45 percent of watchers' brains. But Hitchcock, as film students might predict, took the proverbial cake. The filmmaker's clip "evoked similar responses across all viewers in over 65 percent of the cortex, indicating a high level of control of this particular episode on viewers' minds."

"The fact that Hitchcock was able to orchestrate the responses of so many different brain regions, turning them on and off at the same time across all viewers, may provide neuroscientific evidence for his notoriously famous ability to master and manipulate viewers' minds," Hasson et al. wrote in the summary of their findings. "Hitchcock often liked to tell interviewers that for him 'creation is based on an exact science of audience reactions.'"

Hasson expounded further while speaking with Newsweek's Andrew Romano for his 2013 piece, " Why You're Addicted to TV." "In real life, you're watching in the park, a concert on Sunday morning," Hasson said. "But in a movie, a director is controlling where you are looking. Hitchcock is the master of this. He will control everything: what you think, what you expect, where you are looking, what you are feeling. And you can see this in the brain. For the director who is controlling nothing, the level of variability is very clear because each person is looking at something different. For Hitchcock, the opposite is true: viewers tend to be all tuned in together."

It's a lesson that networks, streaming service providers of original content, and TV writers have learned and embraced. In what is often labeled the new golden age of television, the shows so many of us binge watch, from Amazon's "The Man in the High Castle" to HBO's "Game of Thrones," have taken storytelling to the next level, creating taut, engaging narratives that keep us glued to our screens. Unlike the self-contained episodic shows of days gone by, the most watchable shows feature seductive, detailed story arcs that span entire series, which we want to trace from end to end. These programs are immersive and engulfing in ways far beyond shows of a generation before, which explains why we're so often subsumed by the worlds they depict and why, for periods at a stretch, we're hesitant to leave.

"When I started doing TV almost 20 years ago, studies showed that a so-called fan of a TV show probably saw one in four episodes on average," Vince Gilligan, the creator of "Breaking Bad," told Romano. Networks in that era weren't particularly interested in producing shows with narratives that required sustained, sequential viewing, since that posed problems when shows were rebroadcast, often in random order, in syndication. So plotlines were written to be neatly wrapped up as each episode came to a close. That contrasts sharply with today's most binged-on shows, where storylines keep building and unfurling, necessitating start-to-finish viewing. "[Y]ou can imagine," Gilligan told Romano, "with a serial like 'Breaking Bad,' someone watching one episode out of four would be pretty lost as far as what the hell is going on."

Today's binge-worthy programs require us to keep up, and of course, to keep watching. The availability of an entire series all at once is both a result of and a motivating factor in our tendency to keep viewing. Not only does it lure us into binge watching, it has made show creators tailor programming to our desire to binge.

"As bingeing becomes possible and commonplace, it's only natural that shows should start to take it into account," D.B. Weiss, a "Game of Thrones" writer, told Romano.

The result is a generation of shows that, like pageturner novels, make us nearly desperate to see what happens next. And writers make sure to ratchet up the action, intrigue and plot twists.

"Remember on 'Dallas' when somebody shot J.R.?" anthropologist and author Grant McCracken, one of the authors of the Netflix-Harris study, asked the Daily Beast. "If you found out who did it after the fact, what would be the point of going back and watching that season? But with something like 'The Wire,' even if a friend accidentally let a key character's death slip it doesn't really destroy the point of watching the show."

"It's like the people who make potato chips," Carlton Cuse, a writer from the TV show "Lost," a forerunner of today's must-watch TV, told Romano. "They know how to put the right chemicals in there to make you want to eat the next potato chip. Our goal is to make you want to watch that next episode."

That "betcha can't eat just one" approach to show writing is undeniably working. But here again, science plays a role in our tendency to binge. As Kubey and Csikszentmihalyi note in Television Addiction Is No Mere Metaphor, the relaxed feeling television provides has parallels with addiction. And like addicts, we're loath to let those good feelings end:

A tranquilizer that leaves the body rapidly is much more likely to cause dependence than one that leaves the body slowly, precisely because the user is more aware that the drug's effects are wearing off. Similarly, viewers' vague learned sense that they will feel less relaxed if they stop viewing may be a significant factor in not turning the set off. Viewing begets more viewing.

What's more, a 2015 study from the University of Texas at Austin found that those without self-control had a hard time stemming their binge watching. And that self control was harder to come by for people who were already depressed or lonely, who might turn to binge watching as a way to allay or distract from their negative feelings.

"Even though some people argue that binge-watching is a harmless addiction, findings from our study suggest that binge-watching should no longer be viewed this way," Yoon Hi Sung, one of the study authors, wrote. "Physical fatigue and problems such as obesity and other health problems are related to binge-watching and they are a cause for concern. When binge-watching becomes rampant, viewers may start to neglect their work and their relationships with others. Even though people know they should not, they have difficulty resisting the desire to watch episodes continuously. Our research is a step toward exploring binge-watching as an important media and social phenomenon."

I suppose this all makes sense. Binge watching can get out of control, leading us down a perilous path of procrastination and failure (not to mention lost sleep). But that seems true of nearly any activity we indulge in without some measure of moderation. Remember how "couch potatoes" would mindlessly "veg out" to whatever flickered across their screens, a casualty of the "idiot box" they couldn't muster the will to turn off? The spectre of that figure looms, though today's binge watching seems less mindless. "People aren't watching 'Dukes of Hazard,'" McCraken told the Daily Beast. "They're watching great TV, not bad TV."

"That might explain why so few binge watchers express post-binge regret. According to the Harris-Netflix survey, 73 percent of those surveyed said "they have positive feelings towards binge streaming TV." Similarly, the TiVo Binge Viewing Survey found "only 30 percent of respondents report[ed] a negative view of binge-viewership...compared to two years ago, when more than half of respondents felt the term "bingeing" had negative connotations."

I'm not suggesting binge watching should become a replacement for reading or exercising or going outside and living an actual life (instead of just watching a simulacrum of it). But there is some pretty smart and astounding programming out there right now, and some resonant reasons to watch it for a stretch at a time. It's why Netflix has somewhere just above 62 million subscribers, why shows like Amazon's " Transparent" have won so many awards, and why we can't stop talking about "Making a Murderer," which was worth every second I spent on it. We binge on these shows for so many reasons, among them because they deserve our attention and our time. In many ways, television is finally coming into its own as a bonafide art form, and that's an exciting to development to watch-and keep watching.

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The Reasons You Can't Stop Binge Watching

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There are psychological and neurological explanations for why we pay so much attention to our favorite shows. I sat down with my computer recently to stream an episode of "Making A Murderer," Netflix's engaging and enraging true crime docuseries about Steven Avery, who may have been framed for murder-not once, but twice-by his small-town Wisconsin police department.

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I love to dance, and I dance a lot. Dance relates to science more than anyone thinks, though. Sometimes, dancers base performances off of scientific principles. We can also tell stories through motion, which is another big part of science. The angles that we can make with our bodies also relate to science and math, too.

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I've been involved in Girl Scouts since I was in 1st grade. Science relates to Girl scouts because whenever we have a meeting S.T.E.M is being introduced in a new way. Also the majority of our journeys are related to science. For example our last journey was about air and how we can keep our air cleaner.

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Discover how Girl Scouts explore science, technology, engineering, and math (STEM) in a fun, innovative program that breaks down traditional gender roles.

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I love Music. I love listening to music, playing piano and playing the flute. Science and math are a big part of music, "A melody is made up of different motifs and those motifs add up to make patterns, and those patterns add up to make bigger blocks that you build on." Science is also related to music through the apps you listen to music through.

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Music & Creativity - Science Nation | National Science Foundation

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"One of the difficulties of teaching math and science is that it quickly becomes very abstract. You have to have points of reference that people can relate to and it becomes much easier. So, whether we're talking about teaching basic mathematical concepts, or designing experiments, you can design experiments around music," he explains.

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Art and science are related in ways you would never have thought of: They both require thinking, theories and predictions (I had to reword it).

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The Enduring Relationship of Science and Art

Science and art naturally overlap. Both are a means of investigation. Both involve ideas, theories, and hypotheses that are tested in places where mind and hand come together—the laboratory and studio. Artists, like scientists, study—materials, people, culture, history, religion, mythology— and learn to transform information into something else. In ancient Greece, the word for art was techne, from which technique and technology are derived—terms that are aptly applied to both scientific and artistic practices.

Art and Scientific Investigation in Early-European Art
Leonardo da Vinci, painter and draftsman of the High Renaissance, is best known as an artist whose works were informed by scientific investigation. Leonardo observed the world closely, studying physiology and anatomy in order to create convincing images of the human form. He believed that the moral and ethical meanings of his narrative paintings would emerge only through the accurate representation of human gesture and expression. For this Christian artist, science and art were different paths that led to the same destination—a higher spiritual truth. His Sketch of Uterus with Foetus (c. 1511–13) is one of several thousand drawings he produced in his lifetime in which artistic and scientific investigation are bound together. These extraordinary drawings are revered as examples of the Renaissance concept of the integration of all disciplines.

The Astronomer (1668) by Dutch painter Johannes Vermeer is another example of the profound connection between science and art. The people of 17th-century Netherlands had an exploratory spirit. Equally interested in this world and the larger universe, the familiar and the exotic, they were intent on looking and investigating. It was here in the early 17th century that the microscope and telescope were first developed. Vermeer's painting celebrates an astronomer. Yet it equally celebrates the work of artists and the materials of this world. The painting hanging on the back wall was created by a local artist; the Middle Eastern carpet on the table was crafted by a foreign artist; Vermeer's own paints (ground mineral pigments mixed with linseed oil) and brushes were produced by local artisans. The globe at which the astronomer gazes evidences the link between science and art most pointedly, for it demonstrates this astronomer's—and his culture's—combined interest in finely crafted objects and scientific systems, such as cartography and astronomy.

The Science of Color in 19th-Century Painting
In the late-19th and early-20th centuries, the physiological, psychological, and phenomenal effects of color and light were of primary concern to Impressionist and Post-Impressionist artists such as Edgar Degas (1834–1917), Vincent van Gogh (1853–1890), Auguste Renoir (1841–1919), Paul Gauguin (1843–1903), and Claude Monet (1840–1926). Considered by many to be the greatest nature painter in modern-art history, Monet suggested that our sense of our physical environment changes continuously with our shifting perceptions of light and color. In On the Bank of the Seine, Bennecourt (1868), a painting of his wife-to-be, Monet captures a fleeting "impression" of the landscape through loose brushwork and composition. His impression is pre- cognitive—before the mind labels, identifies, and converts what it sees into memory. Tellingly, the woman in the painting looks not at the house and trees across the river, but down at their wavering, upside-down reflections in the river, a perspective that echoes the process of perception itself. Images in the form of light enter the eye, an orb with a nerve-sensitive background. As light penetrates, it is inverted and projected onto the back of that light-sensitive orb, where the brain processes the information. Monet's painting captures the vibration between impression and perception—the contingent moment. It conveys a sense of trembling as the light and color of the landscape shift and time passes.

A number of years after Monet's Bennecourt, Georges Seurat began painting A Sunday on La Grande Jatte— 1884 (1884–1886) (above). As an art student at the Academy of Fine Arts in Paris, he studied the physics of color, and this enormous painting is an exercise in color theory. Unlike Renaissance and Dutch artists, Seurat and Monet did not mix their own paint. They benefited from breakthroughs by French chemists in the early 19th century who had invented both premixed paints packaged in tubes and synthetic pigments, such as ultramarine blue, which previously had been made from ground lapis lazuli and was, therefore, the most expensive pigment. Neither Seurat nor Monet, with little money in their pockets, could have created their blue-filled, experimental works without the scientific breakthroughs earlier that century.

Using these new paints, Seurat invented a technique called Pointillism to investigate how adjacent colors blend when taken in by the eye. Up close, the surface of his painting contains thousands of painted dots and dashes, discrete areas of color. But Seurat placed these dots of complementary colors next to each other—purple and yellow, orange and blue, green and red—so that at a distance they interact to create vibrant blended colors and larger, whole forms. Carrying his scientific approach to color theory to the edges of the image, Seurat represented the range of the visible spectrum in the painting's border dominated by red and blue.

20th-Century Art and Science
Pablo Picasso's (1881–1973) portrait of art dealerDaniel-Henry Kahnweiler (1910) combines Monet's ideas about the contingency of time and Seurat's theory about the perception of discrete elements. Here, Picasso breaks up the figure and objects in his composition in the style known as Cubism. Instead of rendering his subjects as distinctly recognizable forms, he paints them from several points of view. Kahnweiler's head, suit, watch fob, and hands, as well as the still life to the left and the decorated wall behind, remain identifiable, but these elements have been broken up into flattened planes and rearranged across the picture surface. Painted just a few years after Albert Einstein put forth his theory of relativity, which asserts the contingent nature of observing reality, Picasso's work similarly illustrates the elusive presence of his subject—Mr. Kahnweiler. Picasso's Cubist painting style, like studying Einstein's scientific theory, requires careful analysis, but it rewards the viewer's effort with perception and understanding.

The invention of photography in the middle of the 19th century was a technological wonder—artistically and scientifically. The practice of oxidizing and fixing images on light-sensitive paper or a metal plate posed a great challenge to painters, who had historically been charged with the task of providing their culture with images of itself and the world around them. People believed this new medium could represent the world accurately and more quickly. Ansel Adams (1902–1984) one of the most extraordinary photographers of the North American landscape, used his camera to capture the spirit and beauty of the American West. His majestic vistas of mountains and rivers, such as The Tetons and the Snake River, Grand Teton National Park, Wyoming (1942), embraced the bond between man and nature while recording with astonishing technical accuracy the phenomenal effects of light and atmosphere.

Today, light-and-space artist James Turrell seeks to link the terrestrial and celestial realms in his work at Roden Crater, a natural cinder volcano situated on the southwestern edge of the Painted Desert in northern Arizona. Since 1972, Turrell has been transforming the crater into a large-scale artwork by subtly manipulating and reshaping its form. Like Renaissance artist Leonardo da Vinci did, Turrell uses his knowledge of engineering, and, like Seurat and Monet, he employs his knowledge of the effects of light and space. When Turrell completes his gigantic project, visitors standing in the middle of the crater on the reflective material with which the artist has lined it will feel suspended between the sky and earth.

There has long been a connection between art and science, one that can be traced back to the Egyptian pyramids. History proves that the two disciplines cannot exist without each other, enduring in constantly changing and evolving relationships.

# data[].attributes.attachment_link.title
The Enduring Relationship of Science and Art

# data[].attributes.attachment_link.description
Science and art naturally overlap. Both are a means of investigation. Both involve ideas, theories, and hypotheses that are tested in places where mind and hand come together-the laboratory and studio. Artists, like scientists, study-materials, people, culture, history, religion, mythology- and learn to transform information into something else.

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I have love running track since I was in 3rd grade. I do not have a team for track but I like doing it for the school. What Track has to do with science is the track shoes you wear.

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I love playing the piano and I have a piano and keyboard in my house. I play it when i have free time. Piano relates to science because when you hit a key, the strings inside the piano vibrating at a certain frequency to create a higher or lower pitch.

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Strings lengths and diameters increase from treble to bass. Several notes are strung with the same thickness of wire, but cut to different lengths, and tuned to different tensions to produce the desired pitches. In the bass range of the piano, the strings are wound with other wire to make them thicker so they will vibrate more slowly.

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Softball relates to science physically and medically. The motor skills that are in softball such as pitching, batting, and fielding all require bio-mechanical principles for skilled performance. The injuries it may cause are usually in the forearm, wrist, and hand joint segments which give us sports medicine.

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The science of softball: implications for performance and injury prevention. - PubMed - NCBI

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Sports Med. 2006;36(9):797-816. Research Support, Non-U.S. Gov't; Review

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Hockey uses science by skating and the the blades used on the skates on the ice to make the player move and why the angle of the skates are the way they are and they test if the metal and stop the player and if they can do tight turns and stuff on the ice

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Science of Hockey: Physics of Skating | Exploratorium

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I like playing basketball at school, in a league, or with friends at the park. Basketball and science have a lot of things to do with each other for example playing and shooting a basketball uses trajectory, force, gravity, energy, motion, air pressure, and percentage. Gravity is why you have to use force in your shot to get the ball in the air and into the basket. motion is the way the ball rotates when you shoot it. All those things are involved in basketball and that's how it relates to science.

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Next time the kids head out to practice their shots, consider this: there are scientific principles involved in every shot! Trajectory, force, gravity, energy, motion, air pressure, percentage -injecting a little bit of science into summertime fun can be as simple as asking the right questions when you are out on the court and then putting a few of those ideas into action.

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I like doing cartoons, and I started to do them recently. Science relates to cartoons because they catch the eyes of views and can tell a story about the information.

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Looking to draw attention to the bleak prospects for coral reefs, a growing number of artists are working at the intersection of coral art, activism, and, to some extent, ecology.

Image courtesy of Colleen Flanigan.

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Science and Culture: Cartoons to better communicate science

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Words often fail when teaching science. Although some scientific concepts lend themselves to easily articulated descriptions and definitions, others consist mostly of a language of symbols only decipherable by knowledgeable experts. Diagrams can help. However, some researchers and science educators believe another medium, known more for its entertainment value than its educational value, is often superior.

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Swimming involves a lot of science from the dive to the motion and position in the water. There are many variables when it comes to swimming and science has a big role in it.

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Swimming pools are used recreationally and for competitive events. Since a participant is often fully immersed in the water, the water's hygiene is important. Water that is contaminated can cause illness.

In contrast to many natural water courses, the circulation and turnover of water in swimming pools can be slow. While the water in most below-ground pools is drawn, pumped through a filter and even a heater, and circulated back to the pool at a legislated rate, the time to replace the entire volume of water can still be less than in a free-flowing stream, pond, or lake. Additionally, the number of people using the limited water volume can be much greater than in a natural setting. If steps are not taken to keep microorganisms and other contaminants under control, the water can become a dangerous medium for the growth of the microbes, and for the continued presence of noxious compounds.

One approach to maintaining swimming pool water quality involves filters, which can remove microbes and larger debris from the water. The latter are removed by a filter basket that acts as a strainer. This process is purely physical; water enters the open end of the filter, and debris that is too large to pass through the mesh basket remains trapped.

A second filter utilizes physical and chemical means to trap smaller material. The filter contains a bed of special-grade sand or diatomaceous earth. Incoming pool water enters at the top of the sand. Typically, the water is then allowed to percolate down through the sand under the influence of gravity. During the slow downward journey, microorganisms and other particles stick to the sand or earth grains. The size, surface charge, and surface chemistry of water contaminants determines how avidly they associate with the sand or earth particles.

Over time, as debris collects, the ability of the filter bed to bind particles decreases. Then, by forcing water back through the bed in the reverse direction in a process called backwashing, the collected debris can be driven out. Once the sand or earth grains have settled, the filtering action of the bed is restored.

Today, the filter bed is sometimes replaced by a synthetic filtering material packaged in a cartridge that can be inserted and removed from the water flow.

Chemicals are also added to swimming pools to aid in keeping the microorganisms at permissible levels, and to maintain a balance of inorganic parameters.

Disease-causing (pathogenic) bacteria are controlled by the use of disinfectants. The most popular swimming pool disinfectant is chlorine, which is typically introduced in the form of a solid (calcium hypochlorite) or a liquid (sodium hypochlorite). (Instead of chlorine, a chemical called bromide can be used. Since it tends to be more expensive than chlorine, bromide is not the typical disinfection method of choice.) Less routinely, chlorine gas can be added to the source water. Predetermined amounts of the materials are added, based on the volume of water in the pool, to produce a final free chlorine concentration in the water when the solid dissolves and the liquid or gas disperses. The final chlorine concentration is important. If too little chlorine is added, for example, the chemical reaction that occurs can generate various forms of a compound called chloramine. Chloramines have an objectionable smell and can irritate the skin and mucous membranes such as the eyes.

Addition of the proper amount of chlorine will produce mainly hypochlorous acid in the ensuing chemical reaction. Hypochlorous acid kills bacteria by disrupting the structure of their cell walls and destroying the activity of enzymes inside the cells that are vital for life.

Hypochlorous acid is unstable and tends to lose its potency in sunlight. Thus, many outdoor pool operators will also add cyanuric acid to the water. Cyanuric acid associates with hyochlorous acid and stabilizes its structure, while not affecting its antimicrobial potency.

Another aspect of swimming pool chemistry concerns the pH level of the water-the acidity or alkalinity of the water. The level is measured on a logarithmic scale (each division on the scale is ten times different from the preceding or subsequent value) that indicates the balance between acid and alkaline molecules in the water. The pH scale ranges from 0 (extreme acidity) to 14 (extreme alkalinity). Swimming pool water should have a pH of 7.2 to 7.8; within this range, the antimicrobial action of chlorine is most efficient and the water is most comfortable to the user. Water that is too acidic can damage metal surfaces and is too harsh to skin, whereas water that is too alkaline causes build-up of deposits on surfaces and becomes objectionably cloudy.

The pH of swimming pool water can be easily measured using a number of portable devices. If necessary, adjustments to pH can be made by the addition of sodium carbonate or sodium bicarbonate, which raises the pH, or muriatic acid, which lowers the pH.

A swimming pool is an ever-changing environment. Thus, swimming pool chemistry needs to be frequently monitored and, if necessary, altered throughout the day.

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Swimming pools are used recreationally and for competitive events. Since a participant is often fully immersed in the water, the water's hygiene is important. Water that is contaminated can cause illness. In contrast to many natural water courses, the circulation and turnover of water in swimming pools can be slow.

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I love to draw and doodle in my free time. Scientists have to study material and people and have to transform that information into something else. Artists also have to do that when working on an art project. Certain styles of art, like cubism (Picasso's main style), require careful analysis and rely on the artist's perception.

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The Enduring Relationship of Science and Art

Science and art naturally overlap. Both are a means of investigation. Both involve ideas, theories, and hypotheses that are tested in places where mind and hand come together—the laboratory and studio. Artists, like scientists, study—materials, people, culture, history, religion, mythology— and learn to transform information into something else. In ancient Greece, the word for art was techne, from which technique and technology are derived—terms that are aptly applied to both scientific and artistic practices.

Art and Scientific Investigation in Early-European Art
Leonardo da Vinci, painter and draftsman of the High Renaissance, is best known as an artist whose works were informed by scientific investigation. Leonardo observed the world closely, studying physiology and anatomy in order to create convincing images of the human form. He believed that the moral and ethical meanings of his narrative paintings would emerge only through the accurate representation of human gesture and expression. For this Christian artist, science and art were different paths that led to the same destination—a higher spiritual truth. His Sketch of Uterus with Foetus (c. 1511–13) is one of several thousand drawings he produced in his lifetime in which artistic and scientific investigation are bound together. These extraordinary drawings are revered as examples of the Renaissance concept of the integration of all disciplines.

The Astronomer (1668) by Dutch painter Johannes Vermeer is another example of the profound connection between science and art. The people of 17th-century Netherlands had an exploratory spirit. Equally interested in this world and the larger universe, the familiar and the exotic, they were intent on looking and investigating. It was here in the early 17th century that the microscope and telescope were first developed. Vermeer's painting celebrates an astronomer. Yet it equally celebrates the work of artists and the materials of this world. The painting hanging on the back wall was created by a local artist; the Middle Eastern carpet on the table was crafted by a foreign artist; Vermeer's own paints (ground mineral pigments mixed with linseed oil) and brushes were produced by local artisans. The globe at which the astronomer gazes evidences the link between science and art most pointedly, for it demonstrates this astronomer's—and his culture's—combined interest in finely crafted objects and scientific systems, such as cartography and astronomy.

The Science of Color in 19th-Century Painting
In the late-19th and early-20th centuries, the physiological, psychological, and phenomenal effects of color and light were of primary concern to Impressionist and Post-Impressionist artists such as Edgar Degas (1834–1917), Vincent van Gogh (1853–1890), Auguste Renoir (1841–1919), Paul Gauguin (1843–1903), and Claude Monet (1840–1926). Considered by many to be the greatest nature painter in modern-art history, Monet suggested that our sense of our physical environment changes continuously with our shifting perceptions of light and color. In On the Bank of the Seine, Bennecourt (1868), a painting of his wife-to-be, Monet captures a fleeting "impression" of the landscape through loose brushwork and composition. His impression is pre- cognitive—before the mind labels, identifies, and converts what it sees into memory. Tellingly, the woman in the painting looks not at the house and trees across the river, but down at their wavering, upside-down reflections in the river, a perspective that echoes the process of perception itself. Images in the form of light enter the eye, an orb with a nerve-sensitive background. As light penetrates, it is inverted and projected onto the back of that light-sensitive orb, where the brain processes the information. Monet's painting captures the vibration between impression and perception—the contingent moment. It conveys a sense of trembling as the light and color of the landscape shift and time passes.

A number of years after Monet's Bennecourt, Georges Seurat began painting A Sunday on La Grande Jatte— 1884 (1884–1886) (above). As an art student at the Academy of Fine Arts in Paris, he studied the physics of color, and this enormous painting is an exercise in color theory. Unlike Renaissance and Dutch artists, Seurat and Monet did not mix their own paint. They benefited from breakthroughs by French chemists in the early 19th century who had invented both premixed paints packaged in tubes and synthetic pigments, such as ultramarine blue, which previously had been made from ground lapis lazuli and was, therefore, the most expensive pigment. Neither Seurat nor Monet, with little money in their pockets, could have created their blue-filled, experimental works without the scientific breakthroughs earlier that century.

Using these new paints, Seurat invented a technique called Pointillism to investigate how adjacent colors blend when taken in by the eye. Up close, the surface of his painting contains thousands of painted dots and dashes, discrete areas of color. But Seurat placed these dots of complementary colors next to each other—purple and yellow, orange and blue, green and red—so that at a distance they interact to create vibrant blended colors and larger, whole forms. Carrying his scientific approach to color theory to the edges of the image, Seurat represented the range of the visible spectrum in the painting's border dominated by red and blue.

20th-Century Art and Science
Pablo Picasso's (1881–1973) portrait of art dealerDaniel-Henry Kahnweiler (1910) combines Monet's ideas about the contingency of time and Seurat's theory about the perception of discrete elements. Here, Picasso breaks up the figure and objects in his composition in the style known as Cubism. Instead of rendering his subjects as distinctly recognizable forms, he paints them from several points of view. Kahnweiler's head, suit, watch fob, and hands, as well as the still life to the left and the decorated wall behind, remain identifiable, but these elements have been broken up into flattened planes and rearranged across the picture surface. Painted just a few years after Albert Einstein put forth his theory of relativity, which asserts the contingent nature of observing reality, Picasso's work similarly illustrates the elusive presence of his subject—Mr. Kahnweiler. Picasso's Cubist painting style, like studying Einstein's scientific theory, requires careful analysis, but it rewards the viewer's effort with perception and understanding.

The invention of photography in the middle of the 19th century was a technological wonder—artistically and scientifically. The practice of oxidizing and fixing images on light-sensitive paper or a metal plate posed a great challenge to painters, who had historically been charged with the task of providing their culture with images of itself and the world around them. People believed this new medium could represent the world accurately and more quickly. Ansel Adams (1902–1984) one of the most extraordinary photographers of the North American landscape, used his camera to capture the spirit and beauty of the American West. His majestic vistas of mountains and rivers, such as The Tetons and the Snake River, Grand Teton National Park, Wyoming (1942), embraced the bond between man and nature while recording with astonishing technical accuracy the phenomenal effects of light and atmosphere.

Today, light-and-space artist James Turrell seeks to link the terrestrial and celestial realms in his work at Roden Crater, a natural cinder volcano situated on the southwestern edge of the Painted Desert in northern Arizona. Since 1972, Turrell has been transforming the crater into a large-scale artwork by subtly manipulating and reshaping its form. Like Renaissance artist Leonardo da Vinci did, Turrell uses his knowledge of engineering, and, like Seurat and Monet, he employs his knowledge of the effects of light and space. When Turrell completes his gigantic project, visitors standing in the middle of the crater on the reflective material with which the artist has lined it will feel suspended between the sky and earth.

There has long been a connection between art and science, one that can be traced back to the Egyptian pyramids. History proves that the two disciplines cannot exist without each other, enduring in constantly changing and evolving relationships.

# data[].attributes.attachment_link.title
The Enduring Relationship of Science and Art

# data[].attributes.attachment_link.description
Science and art naturally overlap. Both are a means of investigation. Both involve ideas, theories, and hypotheses that are tested in places where mind and hand come together-the laboratory and studio. Artists, like scientists, study-materials, people, culture, history, religion, mythology- and learn to transform information into something else.

# data[].attributes.body
I love playing and coaching volleyball. Science includes motion and physics. Both of these are important in volleyball! This article explains how volleyball players are constantly doing physics calculations in their heads without even knowing it! I learned that playing volleyball includes lots of physics, estimating, and math!