Abstract
The authors’ new model of innovation, da Vinci’s Cube, expands on the Pasteur’s Quadrant model of scientific research to include the human-centered origins and motivations of technological advancements. The da Vinci’s Cube model provides a new way of examining the relationship of art and science, the stages of innovation processes, and the roles of individuals on teams and in organizations.

Abstract
Building on a foundation of interactive media arts, this paper explores the evolution from large-scale kinetic installations to a digital menta wellness platform, MindClay. The work was inspired by observing public interactions with the lead author’s installations, which showed calming and motivational effects. A media arts museum was founded in part to compare the impacts of different installations on well-being. n collaboration with therap MindClay integrates evidence-based practices into a range of creative activities. The platform offers diverse therapeutic experiences in visual art, music, movement, and writing. This approach provides an engaging alternative to meditation apps, addressing the mental health needs of a broader audience. Through this convergence of art, science, and technology, MindClay aspires to make therapeutic creativity widely accessible.

Abstract
This article describes a study of One Nation/One Project, a national post-pandemic arts-and-public-health initiative in the US. This values-based, convergent mixed-methods study found significant associations between arts participation, social cohesion, and well-being and offers a theory of change that illustrates these associations, as well as how arts participation increased social cohesion and enhanced well-being. At a moment when the severities of social divisions and loneliness are increasing in the US, this theory of change may enhance socia cohesion and well-being by encouraging cross-sector collaboration between the arts, public health, and municipal sectors and supporting investment in the arts.

Abstract
This interdisciplinary study investigates the transformative potential of the workshop AYA—I Am Not Afraid of You (“Aya—Não tenho medo de ti”), an innovative program that employs Theater of the Oppressed techniques to enhance well-being and empower young women. Participants engaged in collaborative and expressive activities to address and reframe experiences of oppression, fostering personal growth and collective resilience. A comprehensive mixed-method evaluation—integrating qualitative reflections, observational insights, surveys, and psychophysiological data—assessed the workshop’s influence on emotional well-being, reduction of reactiveness, and empowerment. The workshop took place in Porto, Portugal, with a small, purposefully selected sample of nine young Lusophone women, of Portuguese and Brazilian nationalities. While small in scale and diversity, the study demonstrates how such assessments can be adapted across cultural contexts. Results indicated improvements in well-being and embodied emotional indicators.

Abstract
This study addresses EEG art’s limitation in psychotherapeutic depth by innovatively merging it with mindfulness. It transforms EEG’s emotiona engagement potential into a focused intervention for clinical groups, promoting symptom relief through increased self-awareness. The study introduces Empathic Fabric, a wearable prototype that tracks EEG concentration and meditation indicators. By incorporating closed-loop feedback, it fosters an affective dialogue between user and machine, supporting mindfulness practices. Preliminary evaluation confirm its feasibility. This study presents a novel approach to combining EEG neuroaesthetics with psychotherapy offering a fresh perspective on affective intelligence for human-machine symbiosis.

Abstract
Public interest and research into how music and the arts benefit our health and well-being has grown significantly, along with initiatives to advance the quality and rigor of these scientific studies. The complexity of the arts introduces unique challenges to their study This article highlights recent initiatives to advance the scientific rigor of music-based intervention trials, with specific emphasis on development and validation of the 2025 “Reporting Guidelines for Music-Based Interventions” to improve the quality, transparency, and consistency of how music interventions are described in published research. This work also has the potential to inform research investigating other arts modalities.

Abstract
This paper describes three research networks funded by the U.S. National Center for Complementary and Integrative Health (NCCIH) and the National Endowment for the Arts (NEA). The networks seek to advance the mechanistic understanding of music-based interventions (MBIs) for pain management. The networks address critical gaps hindering MBI research, including inconsistent terminology, lack of mechanistic understanding, and insufficient objective measures. The Music4Pain Network focuses on the development of a taxonomy, a mechanistic framework, and research priorities; the ENSEMBLE Network promotes cross-disciplinary collaboration, collation of real-world data from clinical settings, and biomarker identification; and the Audio Analgesia Network emphasizes computational methods and innovative technologies to advance mechanistic research in MBIs. Together, these networks form the Music and Health Consortium, conducting collaborative research through specialized working groups, pilot funding opportunities, and training programs to improve the rigor and mechanistic understanding of MBIs for pain management.

Abstract
Conceived as part of a broader recovery of histories of Latin American women working with science and technology, “Artful Minds, Healing and Well-Being: Women, Art, Science, and Technology in Latin America 1970s to the Present” includes a selection of projects that share Leonardo’s focus on topics related to health. Ten artists from five Latin American countries (Mexico, Brazil, Colombia, Argentina, and Chile) represent a sampling of relevant practitioners. The works span fifty years, from the 1970s to the present, and involve various fields and technologies, from sonic, video, computational, and AI arts, to medical technologies and bioart, to technologically aided installations and performances. Created in various formats as solo-authored, collaborative, and participatory works, these projects include diverse physical and virtual environments, from artistic, domestic, scientific, and electronic spaces to urban and rural areas in Latin America and Europe.

Abstract
This article describes a personal music recommender system designed to overcome the “cold start” problem that affects the visibility of recent works of composition and improvisation outside popular music. The approach builds upon the authors’ experimental results showing increased levels of engagement with unfamiliar music through a focus on acoustic properties and emotional response. Set in the context of a digital music library, the developed recommender feature provides two visual acoustic representations of a musical work and allows users to record their continuous affect responses. These interface elements are designed to invoke the behaviors observed in the authors’ experiments: i.e., to keep visitors engaged with the online resource for longer periods and motivate them to experience a broader range of music.

Abstract
The authors explore a facet of the scientific method of the Nobel laureate Barbara McClintock through an artistic process. McClintock’s key scientific insights into what she coined the “breakage-fusion-bridge cycle” rest on her observation of maize kernel colors and forms in combination with the spatial arrangement of chromosomes. Her intriguing studies motivated the art project BREAK-FUSION-BRDGECYCLE to highlight the role of visual observation in discovery. Four different posters bear irregular diamond shapes with forms reminiscent of X-chromosome shapes and kernel color patterns McClintock studied and are inscribed with the words break, fusion, bridge, and cycle using a font choice that was inspired by her drawings of chromosomes. As they are freely available posters, anyone can experiment with the spatia arrangement of shapes and colors, to reflect on one’s own ability to observe, make connections, and create new insights.

Abstract
This article describes the Generative Art Summit held at the Akademie der Künste Hanseatenweg, Berlin, in 2024, organized by the Foundation Herbert W. Franke. Franke, a pioneer of art and technology beginning in the early 1950s, was the inspiration for the summit, which brought together 70 invited guests of honor and gathered internationa participants to consider the origins, current state, and potential future of an art form that is finally achieving wider recognition. Demonstrative of the wide reach of digital art now, more than 350 attendees shared and debated the history and practice of computer and generative art across generations and around the globe.