The Discovery of Science in Art. “Hossam Eldin Zakaria”

“…Man is crazy about great finds,

the greatest thing is not to find…”
“Paul Valery”
Understanding is not only a pure mental experience. It is also a process of living. Usually,
epistemological insight, in any system, is being accompanied by feelings, emotional and
physical surge, which sometimes seems to us sometime in aural, Kinesthesia, or visual
form. These sensations can’t be detached from the act of discovery itself, because mind can’t work
without a conscious will. It would be strange to claim such a link for the scientist as for the Artist. In
that, case the attitude of scientist toward the technician the same for the Artist towards the Artisan.
Therefore we can say that science appears in its best when it goes in harmony and accord between
an analytical mind and an aesthetical sensibility. It is a matching known to scholars as “sensual

Some will claim that the concept of science is based upon the rejection of personal element and intuition,
or any subjective considerations, in order that it does not interfere with objective analysis for
the world. In this way, science before our eyes would seem a machine of logical quest. Its function
is only taking practical notice, developing hypotheses, testing and deducting solutions.
But for some scientists (or Artists), the approach seems different. Abd El Salaam Eid is one of those
Artists, who are obsessed by scientific sense. In his lower depths, science is being kneaded with
Art and vise versa. That notion came to him from his deep belief in that famous saying: “.. If science
is man endeavor to disclose the facts, then Art would be an expression of the dazzle produced by
that disclosure..”. From that point of view, understanding for Eid begins with personal Knowledge
of his topic of research. It is a process based upon imagination his capacity of penetrating into the
core of his idea lies behind the secrets of his creation, when he blend the elements of his topic of
research. We would not surprise when we know that Einstein described what he has nominated as
“the thought Experiment”, at the time he was working upon the effect of gravity on time. He imagined
himself in a lift swaying back and forth while descending with a ray of light. In addition, when he was
checking his special theory of relativity, he imagined a ray of light chasing a man running with the

velocity of light. Einstein was personally an active element, as has been involved in a visually and

muscularly procedure in the experiment, and thus he was able to solve the most intricate problem in
his relativity theory. That has been known as the kinesthetic way for solving mathematical problems.
We can give myriads of examples for scientists who acquire an empathy with their topics.
So we may go with our imagination to witness a learning environment, that brings together the
audio visual experience and kinesthetic perception with theoretical science, to achieve a sensory
and emotional connection between the branches of knowledge and the arts in general, and even to
speak of those cognitive estrangement (cultural divide), as the noted critic Salah Fadl, commenting
Abdel Salam Eid’s “features of a new Fine Movement “. Thus, it would be possible to solve the
serious problems of the world through what is known as” the whole man”, and not by people who
refuse to be anything more than either technologists or artists. In today’s world, you have to be
everything or you would go to nothing. The young scientists, are like their equals of artists or musicians,
they must learn how to integrate their personal language with the surrounding environment.
Abd El- Salam Eid is tightening sturdy rope to the mast of his ship. He broke the compass, sealed
his ears deaf to the Sirens calls. Overlooking to the world of tomorrow, in a genuine intuition. Amid
surging waves. His discerning constructive determination is emanating from a n oriental Islamic soul,
that is calling out to pantheism and darting out for the One (God). He argues the crossing of the gap
between Art and Science. Let our dazzling before these overwhelming waves of new science and
technology be a solemn hymn that encompasses all of us in harmony and mutual understanding.
He proceeds with winged mind and a heart open to the salted fresh air of Alexandria that washes
the beaches of drowsiness. He is inviting us to receive the chance, which is coming chaste like a
newborn’s laugh, a pure summer breeze. There, we consider the admirable drama with him. He
showers it down, in our eyes and senses as a magic elixir. He Blows life into tough and monotonous
technology…and here is the rope again. Its braids are molded in varied configurations, between
simple and complex, between softness and severity. Sometimes, the rope is extending like the
strings of a solemn counter bass. Under the flickers of light it turns to helical twists in a spiral rhythm
of dancing, wavering colors. When the braids break down, stop hugging. Their ends begin to fray,
becoming lashes and tufts with a fluffy texture. The rope displays his multi potentials. There are
emerging melodies and motives. They are gushing in succession as entries of a strict counterpoint
Fugue. The structure is visually integrated. It generate within us a kinesthetic sense, a repressed
muscular movement…and that is the essence of sensuous science, that calls for a reevaluation of
our equations, relationships with the other, in an emotional perspective. Thus we can see the more
secured world of hopes, a world of intimacy between Art and technology.
Abd El – Salaam Eid is living the age in all its achievements; he is looking up to the future with a deep
insight, weaving iron and kneading stone. He explores beauty amid the most trifle sacked waste
matters, bringing them back to life. He dives inside them. As if he want to fathom the essence of
existence in a shabby “Dantella” cloth or nods of frayed ropes, the remains of workshops and factories
… side by side with ostrich eggs and fragments of wood ..!. Things are scattered but in acute
awareness and aesthetic sense. Because Eid is administering an intimate and bold controversies,
between their varied colors and that embodied in their bold structures. Installations that are accompanying

the Artist in his Odyssian voyage towards “Noon, in which the heat is not yet touched

by illusion”. The order with which Eid has arranged his items is daring and independent, his accordance
is willingly bursting through sufferings, always tough, free of any false softness and fluidity. In
contrast with Dadaists, who feared machines and automation, expecting evil with their domination (
during the twenties), Abd El-Salaam Eid tries to synthesize the world of technology with Art, making
from them a kinesthetic blend. He says:
“..we should tackle scientific problems in an empathy with sensuous Art, to look at the future for further
detection, astonishment. Indeed our education’s curricula should advocate these trend..”. taming
exotic beasts (of technology), jumping over the frames, and calling for unity between science
and technical work in a new Gesamtkunstwerk, to look upon tomorrow with a creative surprise and
astonishment tomorrow, are the instruments of Abd El-salaam Eid’s ratification as a new Siegfried


Hossam Eldin Zakaria