Section 1:

The first section features a 3D brain model designed as a puzzle, with each lobe represented as a separate, removable piece. As participants successfully assemble the puzzle, informative text boxes will appear, explaining the function of each lobe and how it relates to the central themes of the project. This interactive element not only helps to visualize the brain's structure but also encourages a deeper understanding of how different brain regions connect to perception, emotion, and artistic experience.

Section 2:

In the second section, visitors will encounter captivating 3D optical illusions on the wall. Within these illusions, textboxes will reveal the science behind visual perception and cognitive interpretation, seamlessly blending art and neuroscience. It will also talk about the op art movement and how optical illusions work by tricking one's perception. One of the artists that will be featured in the text boxes is Bridget Riley, a leading figure in the Op Art movement. She is well known for creating artwork with geometric shapes, patterns, and contrasting colors that give the illusion of movement. Her paintings often give the impression of shifting or vibrating, which captures the viewer’s attention and challenges the way things are perceived. From a neuroscience perspective, Riley’s art activates parts of the brain that deal with visual perception, focus, and even emotion, as the complexity of her work can make people feel a range of reactions — from curiosity to discomfort — simply through visual effects (Lee, 2001). Mentioning this well-known artist allows a clear connection (that will be explained within the text boxes) between not only her works specifically but also artistic expression in general with science.

Section 3:

The third section presents a 3D-printed book featuring an embedded digital screen. On the left page, the screen displays the acting video inspired by one of Oliver Sack's stories, filmed by section 10.5, while the right page offers a written explanation that connects the act to the short story “The Lost Mariner” by Oliver Sacks. The explanation also includes a greater contextualization of the story that based the video. This combination of digital and physical elements allows viewers to understand the real-world implications of memory loss and identity, linking neuroscience, personal narrative and visual arts in a meaningful way.

It is important to mention that there is no right order of "visiting" each sector. The viewers will have equal experiences and learning discoveries independently of each section they go first, as the connections between them can be conveyed either way. Additionally, in the end of this padlet is available a hand made sketch of how each element would look like integrated together in a single room!

Ms. Costa (science teacher)

Ms.Ortiz (arts teacher)

Ms.Mancini (Literacy teacher)

Aldous Huxley (English writer; quoted on the curatorial text)

Lee, P. M. (2001). Bridget Riley’s Eye/Body Problem. October, 98, 27–46. https://www.jstor.org/stable/779061?searchText=Op+art+Bridget+Riley&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DOp%2Bart%2BBridget%2BRiley%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A476264976093c2955f18d2d55a573a21&seq=1

Adobe Firefly (Generation of images)