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28Drectorate-Genera or Research
Drectorate D Internatona cooperaton
EUROPEAN COMMISSION
Art&ScenceCreatve Fuson
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6 Art & Scence
Tabe of contentsAcknowedgments .................................................................................................................................. 3
Foreword ............. .............. .............. ............... .............. .............. .............. .............. .............. .............. ....... 5
Theory behnd art & scence .................................................................................................................. 7Relecton on art and scence: creatve uson ........................................................................................7What s the thrd cuture? ...............................................................................................................................8
Practca appcaton ............................................................................................................................... 9Contemporary research art ............................................................................................................................9
Boogy beyond the ab .............. ............... .............. ............... ............... .............. ............... ............... ........... 1
Botechnoogy art .................................................................................................................................. 11Art and scence evovng symbotcAy .............. ............... ............... .............. ............... ............... ...... 11The ab s now a studo ............... ............... .............. ............... ............... .............. ............... ............... ........... 12
Nanotechnoogy art ..............................................................................................................................13Communcatng nanotechnoogy through art ............. ............... .............. ............... ............... ........... 13
Cybernetc art ......................................................................................................................................... 15Are you a zombe-cyborg? Accordng to Stearc, we a are. .............. .............. ............... ............... . 15Speech and sound art ts eectryng! .............. .............. ............... ............... .............. ............... ......... 16Cybernetcs combng the human body and machnes ............... .............. ............... ............... ...... 17
Inormaton art.......................................................................................................................................18Technoogy wth a sde o soca commentary ..... ............... ............... .............. ............... ............... .... 18Junk or art? .............. ............... ............... .............. ............... ............... .............. ............... ............... ............... .... 19
Intervew .................................................................................................................................................20Marko Pejhan: between art and scenceThe Zaum (Transreason) o Cvzaton ............... ............... ............... .............. ............... ............... ......... 2
Festvas ............... .............. .............. .............. .............. .............. .............. .............. .............. .............. ...... 24Art & scence n your neghbourhood................ .............. ............... ............... .............. ............... ............ 24
Intervew .................................................................................................................................................25Roger Mana and the New Leonardos.....................................................................................................25
Insttutons ..............................................................................................................................................26Art + scence = understandng .............. ............... .............. ............... ............... .............. ............... ............ 26Pushng the boundares o art & scence .............. .............. ............... ............... .............. ............... ....... 26
Western Bakans Countres ..................................................................................................................28The Intermeda Centres o the Western Bakans ............. ............... .............. ............... ............... ......... 28
Some concusons .................................................................................................................................. 29
Table of contents
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Art & Scence 7
Theory behind art & science
Ever snce Plato, a large part o Western
cvlsaton has been convnced o the
desrablty o amalgamatng the three pllars
o ntellectual le by tryng to make Beauty,
Truth and Goodness concde. Each o these
worlds has ts own method. Proessor Wllem
Elas o the Vrje Unverstet Brussel explores
the common ground and dvergence between
art and scence. We can compare the world o
art wth, on the hand, the world o value-based
thought, as expressed n poltcs the proane
and on the other hand, scence.
Whle art and scence have prevously, and
especally snce the 19th century, been dvded
nto two separate and wholly unrelated worlds,
today the lnks between them are ncreasngly
apparent and they are seen as complementary
rather than competng. Further research on ths
area s needed and preerably at European level.
Indeed, already n several corners o Europe and
urther aield, ths cross-perormance between
art and scence s brngng new and ascnatng
applcatons: creatve uson! But let us irst touch
on the comparson between art and scence.
Science between certainty and doubt
Scence s practsed accordng to our standard
rules. Frstly, data s sought through obser vaton
and supplemented through measurement.
Secondly, patterns are sought, leadng thrdly
to a larger, cohesve whole, whch s called a
scentic theory. The cohesve scentic theory s
arrved at by usng a system o logc. I the scence
uses igures (quanttatve), t s mathematcs. I
the scence prmarly uses words (qualtatve),
t concerns reasonng. Fnally, the new theory
has to be tested n some way, such that t canbe conirmed, rejected or mproved. Scence s
there to solve problems. Through scence man
hopes to be able to predct or explan what
happens n the world.
Art
I we are to deine scence (n the world o
truth), a method or rule can help; ths appears
next to mpossble or art. Indeed, s there
anythng more relatve than the world o
beauty? It s then also no surprse that one can
conclude that n the 20th century, the classc
deinton o art aled and was substtuted
by an nsttutonal theory: A work o art s
an arteact o a knd created to be presented
to an artworld publc. It s realsed that ths
deinton too s very relatvst, but or the
moment the only one possble.1
Similarities and diferences
It would be wrong to see too close a smlarty
between scentic and artstc work. Both
dscplnes gve a means o knowng an
ndvdual, and thus the socety n whch they
lve n a specic tme perod. Both assume a
curosty about what happens n the world
and the creatvty and nventveness that are
necessary to make ascnatng statements
about t. Both presuppose a certan amount o
curosty about whats gong on n the world
and enough creatvty and ngenuty to report
ths n an nterestng way.
Whoever wants to pont out the smlartes
between scence and art wll nevtably use
Leonardo da Vnc (14521519) as an example. He
rased drawng as a part o anatomcal research to
a hgh level. He started rom the convcton that
the eye s our man sense or ganng knowledge
o the world. And he oten ponted out that an
mage, whether a drawng or pantng, can show
a lot more o what has been seen than can ever
be descrbed n words. The act that durng the
Renassance no dstncton was made between
the artst and the scentst s the proverbal
qualty typcal o that tme.
In the 20th century too, attempts have been
made to mnmse the dference between
the artst and the scentst. None other than
Claude Lv-Strauss, the French ethnologst and
phlosopher, vews art and scence as two equal
orms o orderng.2 Myths the stores through
whch a culture wshes to represent tsel are
also mportant orms o organsaton. Lv-
Strauss called ths wld thnkng. He consders
art to be a orm o contemporary wld thought,
somewhere between scence and myth. One
element n all ths may be useul: the wldness.
When lookng agan at the rules o scence,
smlartes abound. Art, too, s about thnkng
whle observng. Experment s the bass o
20th-century avant-garde.
The search or patterns, though, s less evdent.
The artstc schools could be a parallel here. One
could always say that no artst escapes a certan
style, .e. a broader category o desgn than the
ndvdual contrbuton. And each style has tstheory o art. The need or vericaton s not
really applcable and ths s the bg dference.
Scentsts seek solutons, startng rom ther
knowledge o any number o potental
alternatves. The artst inds ther soluton.
The ormer s concerned wth problems, the
latter wth ther problem. Scence s better t
reaches the same indngs; art gets better as t
keeps indng somethng dferent. Ths s where
the artst becomes very unscentic ndeed.
But ortunately so because there were no
dference, there would be no need or artsts.Moreover, one o the downsdes o the strct
scentic method s that there s lttle room to go
beyond the boundares or rules. On the contrary,
art does not have any lmts. And t s precsely
ths artstc wldness that can be very ertle.
Ths phenomenon s especally nterestng n
the case o artsts who have chosen a branch o
scence as ther s ubject matter.
Interace between art and science:towards a third culture
The thrd culture s a concept rom John
Brockman (19953) that no doubt has ts placehere. The phlosophy o scence has seen major
debate over the past two centures between
two orms o knowledge acquston: the
humantes, lnked to qualtatve research,
versus natural scences, lnked to quanttatve
research. The concept o a thrd culture seeks
to brdge ths gap, and to reconcle these
opposng vewponts n order to transcend ther
dferences wth mutual enrchment.
Relection on art and science:
creative fusion
1 Eas, W., Sgns of the tme, Rodop, Amsterdam, 1997, pp.9811.
2 Lv-Strauss, C., La pense sauvage, Pon, 1962.3 Brockman, J., The thrd cuture: beyond the scentic revouton, Smon & Schuster, N.Y. 1995.
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8 Art & Scence
Already n modernsm, art was oten nterested
n scentic work. Classicatons and scence-
based technologes have partcularly nspred
many artsts. The ntenton o ths type o
art was to be ether crtcal or poetc. Crtcal
because, or example, the bass or some
classicatons was questoned or because the
sgnicance o some technologcal dscoveres
was doubted. Poetc because the relatonshp
between art and scence was elt, but above
all because one was nterested n the orm that
scence was takng.
Wth post-modernsm, art took a completely
dferent drecton. When a post-modern artst
gets nspraton rom scence, they no longer
get nspraton on the bass o an unrealstc
magnaton, but rather on the bass o scenticknowledge that they themselves have, as an
artst, or that they acqure through contact
wth scentsts. The dstncton s thereore very
small, not non-exstent.
The pont o departure s that the above-
mentoned mutual ertlsaton does not
reman wthn the vory towers o scence.
Rather, the creatve thoughts emergng rom
extraordnary gatherngs n socety must be
made accessble to the publc at large. Ths
creatve uson between art and scence can
take many orms such as creatng awareness
on mportant socetal ssues as a result o
technologcal progress. Or smply the use o
normaton technology n art as demonstrated
n dgtal art.
Thus ar, there have only been demonstratons
o what s possble rather than ully worked
out n collaboratve projects. It s thereore
very mportant to study urther the nterace
between art and scence and to promote the
potental o ths cross-ertlsaton or rather
creatve uson.
Proessor Willem EliasVice-Dean Psychology
and Education Faculty
Theory behind art & science
Artstc research s an mportant element o both
the art and the scence worlds. Artsts no longer
eel the need to create solely or an object-
centred art market. Instead, many artsts are
now explorng new creatve orms where they
ind and nvent projects that do not it nto the
tradtonal art world. These people are reachng
across cultural barrers and orgng somethng
new and unque.
Artsts and researchers have taken elements
rom scence and the humantes two dstnctand well-establshed cultures and created a
thrd. Ths thrd culture arts & scence s a
brdge between the two old ones. Artsts are
now able to use elements o scence n new and
exctng ways to generate creatve results.
The concept o the thrd culture was irst
ntroduced by C.P. Snow n 1959 as he lamented
the gap that had ormed snce the 19th century
between humantes and natural scence. Ths
gap, accordng to Snow, negatvely mpacted
both ields. He predcted that a new generaton
o scentsts would close the communcaton
gap between these two cultures.
Today we can see Snows predctons comng
true. There s a growng and nnovatve ield
o art that has taken to usng scence and
research to make thought-provokng peces.
Artstc research s becomng commonplace
and not only artsts and scentsts apprecate
t. The general publc s becomng aware oths ield and beng brought nto the thrd
culture as well.
The thrd culture very much exsts today.
Look around and see any number o artsts
who take elements o scence bology,
nanotechnology, cybernetcs, normaton
technology and ncorporate them nto ther
work. The extreme gap that Snow observed
between the humantes and natural scence
n the 1950s has been overcome and arts &
scence, the thrd culture, has brought the two
worlds together.
The deal projects we are envsonng and
presentng ntend to strengthen the ield o
artstc research at the nterace o art and
scence. Both cultures, art and scence, have
n common human curosty, creatvty and
the desre to understand and represent the
unknown. The ntators o theses projects are
o the opnon that the dferng epstemcs andorms o knowledge producton can be used
productvely n the collaboratve work o artsts
and scentsts.
In the orm o collaboratve art-and-scence
research projects, recprocal exchange and
publc presentatons, these projects create an
ntercultural landscape o aesthetc and ethcal
knowledge producton.
What is the third cuture?
WimDelvoye/cloaca,www.cloaca.be
BridAArtCollective
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12 Art & Scence
Biotechnology art
The ab is now a studio
Humans have been tryng to manpuatenature snce the dawn o tme. Ths has usuaybeen or practca purposes, domestcatng
anmas, or exampe. Marta de Menezes usesths concept, but modies nature or artstcobjectves.
Nature?s one such project. Menezes modiedbutterly wngs to create desgns that havenever beore occurred n nature. Ony onewng has been desgned by the artst sothe dference between the natura and thearticay desgned can be uy apprecated.In aterng the wngs o the butterles,Menezes does not mody the DNA, keepngthe genetc ne pure. The art has a espan,that o the butterly.
Menezes has aso used ce boogy technquesand DNA to produce art. Wth Nuceart, specaDNA s used to pant the nuce o human ces.
By controng what chromosomes or groupso chromosomes are panted, the artst sabe to create a controed mage, one that sony abe to be vewed wth a aser scannngmcroscope. The mages hep researchersbetter understand the organsaton o thehuman nuceus.
To pant bran actvty, Menezes has empoyedMRI technoogy to photograph the bran.Functona portrats s an attempt to recordthe bran whe a subject perorms a specictask, ke payng the pano. The bran producescompex actvty patterns durng dferent
actvtes whch can be recorded by MRI andpanted by the artst.
Menezes work has been shown across thegobe and her unque use o botechnoogyhas worked to brng art & scence to themanstream.
Portuguese Marta de Menezes expores the nteracton
of scence and art through her work. Workng n
boogy aboratores, she demonstrates how boogca
technques can be used as a new artstc medum.
SPOTLIGHT ON THE ARTISTName Marta de MenezesNatonaty PortugueseSpecasaton Botechnoogca artWebste http://www.martademenezes.com/
KapelicaGalleryPhotographer:MihaFras
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16 Art & Scence
Cybernetic art
Speech and sound art its eectrifying!
Workng snce 1971, Pau DeMarns hascreated numerous perormance works, soundand computer nstaatons and nteractveeectronc nventons whch have been showna over the word. Emuatng the artst as ameta-nventor, DeMarns asserts that he hasthe reedom to expore and magne becausehe s nether a scentst nor an hstoran.Hs research s expermenta and he tres tosee what works and what as.
Foowng the nventor anaogy, DeMarnsresearches orgotten nventors such as EshaGray who was beaten by Aexander Graham
Be or the patent o the teephone. DeMarnscreated hs own verson o Grays othernventon (the Musca Bathtub): Gray Matter a seres o eectried objects that producesound and sensaton when stroked wth thehand expores the nteracton o body andeectrcty to make musc. In another peceFrebrds, oracuar lames kept captve wthnbrdcages recte speeches o 193 dctators Hter, Stan, Musson. Gas lames, sutabymoduated by eectrca ieds can be made toact as omndrectona oudspeakers.
Much o DeMarns recent work deas wththe overap between human communcatonand technoogy. Inspred by 18th-centuryphyscan and naturast Francesc Sava Campos output devce or hs teegraphequpment, The Messenger examnes themyths o eectrcty n communcaton.
It comprses three parae teegraph systems
based on ncomng magnary ema messages.One system s made o 26 eectroytc jars wthmeta eectrodes n the orm o the etters Ato Z that bubbe when eectrcty s passedthrough them. The pece takes teegraphy asts pont o departure or an examnaton o thenterreatonshp o eectrcty and democracy.It deas wth how eectronc communcatonstechnooges, n addton to enrchng ourves and experences, aso contrbute to ouroneness and soaton.
Through hs work, DeMarns seeks to
hghght the nterace between eectroncmeda and socety. Not ony dd eectroncmeda reconigure our cutures percepton othe reatonshp between speech and sound nthe 2th century, the transormaton o speechnto sgna, sgna nto wave, to recordng andpayback make apparent that meanng sorever cast as sound, sound as sgna, sgnaas nose, etc..
1930s dctators, gas lames and brdcages. Forgotten nventor
Esha Gray, a copper bath and musc. We take a ook at the work
of eectronc meda artst Pau DeMarns.
SPOTLIGHT ON THE ARTISTName Pau DeMarnsNatonaty AmercanSpecasaton Eectronc meda artWebste http://www.we.com/~demarn/
KapelicaGalleryPhotographer:MihaFras
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Insert Art & Scence I
Autonducer_Ph-1 reworks a tradtona Asan rcecutvaton technque whch expots a natura symbossbetween Azoa pants and Anabaena cyanobactera.Here the reatonshp s orced nto new parameters wthan addtona symboss between the Anabaena and avrtua bactera coony.
An assembage o pond-ke structures, eectroncs,robotc arms, rce pants, and aboratory equpmentprobes nto and ntereres wth symbotc reatonshps.Data and normaton systems nherent n the
reatonshps between organsms and how they may beaugmented wth artica counterparts are brought ntoocus as outcomes o the compex reatonshps wthnthe system determne the behavours o the robotcarms and the growth o the rce.
Andy Grace Artstc deveopment and constructon: Andy GraceSotware deveopment: Bran Lee Yung RoweOrgnay commssoned by Avest or AV6Competed wth the ad o a grant rom Arts Counc o EngandDeveoped durng a studo resdency at Comaosca, Aea,Barceona
Andy Gracie: Autoinducer_Ph-1http://www.hostprods.net/
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Autopoess s an artica e robotc seres o 15musca and robotc scuptures that nteract wth thepubc and mody ther behavour based on the boththe presences o the partcpants n the exhbton andthe communcaton between each separate scupture.
Ths seres o robotc scuptures taks wth each otherthrough a hardwred network and audbe teephonetones, whch are a musca anguage or the group.Autopoess s se makng, a characterstc o avng systems. Ths characterstc o vng systems
was deined and reined by Francsco Varea andHumberto Maturana.
Ken Rnado Photographer: Yeha EwesPhoto: Kasma Museum Centra Art Archves/Yeha Ewes
Ken Rinado: Autopoiesiswww.kenrinaldo.com
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Insert Art & Scence VII
I choreography s wrtng wth bodes n space, he sthe argest-scae choreographer ever. Dragan vadnovrom Ljubjana s the irst artst n the hstory o spacetrave to be traned as a cosmonaut. In condtonso smuated zero-gravty paraboc lghts he sworkng on dances to be perormed n the cosmos. WthPrayng Machne Noordung, hs earth-bound productonor the Ljubjana Baet, he s aso provng hmse to be amaxmast, temporay as we as spatay.
vadnov pans to return to ths pece every 10 years
wth exacty the same troupe, repacng each memberthey nevtaby de over the decades wth a recordngo musc, unt one day ony a concert remans on earth.The cremated bodes o the departed w contnuethe choreography by orbtng the earth as satetes nsuprematst-stye urns. He has chosen the ninte vastnesso space as an arena because ony weghtessness canensure eterna movement. The dance o the space urns wgo on orever. Ths must be the most gorous monumentever created by dance n honour o tse.
Dragan vadnov Photographer: Mha Fras
Dragan ivadinov and Dunja Zupanihttp://www.noordung.net/ www.nskstate.com
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VIII Insert Art & Scence
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Insert Art & Scence IX
COASTOMIZE! and other MIXED REALITIES s anntatve by archtect Marc Godts and art curator SvenVanderstcheen. COASTOMIZE! s experencng newspace and tme n a word where art, archtecture,scenceand technoogy are no onger means but become contextand envronment. COASTOMIZE! and other MIXEDREALITIES expores the notons and dynamcs o prvateand pubc space. The changes n the coastne relect thechanges that happen everyday n our persona space.
COASTOMIZE! questons the roes desgn and pannng
have n mtng the space o the coast and ther roe nafectng everyday e. Artsts expore these questons bypayng wth the boundares o art, scence, desgn andtechnoogy.
www.hedendaagsekunstndevaamseardennen.be
FLC extended/COASTOMIZE!
COASTOMIZE! and other MIXED REALITIESwww.hedendaagsekunstindevlaamseardennen.be
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X Insert Art & Scence
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Insert Art & Scence XI
The BrdA Art Coectve comprses Tom Kersevan, SendMango and Jurj Pavca. Based n Sovena, the Coectvewas ormed durng the artsts studes at the Academy oFne Arts o Vence n 1996 and chose the name BrdAas t cances traces o ndvduaty wthn the groupand estabshes a new body capabe o exstng andunctonng autonomousy.
BrdA Art Coectve Photographer: BrdA Art Coectve
BridA Art Coectivehttp://www.brida-kud.si/
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22 Art & Scence
Interview
He worked or UNESCO and atthe same tme deat wth knetcart. In 1967, he estabshed the
journa Leonardo, whch s a keypubcaton nkng art and scence.At the irst gance, these words arencompatbe and peope oten rother eyes or do not see a connectonbetween the mtary ndustracompex and art, but to me ths s ahghy organc whoe and one o thekey words I work n.
How about the establishment othe Slovenian Space Agency (SSA)initiated by you, together withDragan ivadinov and Primo
Pislak?
When we presented our deaabout the SSA or the irst tme n21 at the Sovenan Academy oScences and Arts, namey at theirst Noordung orum, the scentststhere stared at us n amazement,sayng who are these unatcs,
why do we need such an agency,Sovena s too sma I responded:Is t not true that a scentic andengneerng apped knowedgeareas come together n aerospace?Are these not some o the mostntegrated systems enabng thatone can work more and better, andbe nternatonay connected? We,artsts, however, wsh to have ourown department, snce we haveput everythng on the tabe or you.I knew ths was possbe, as n 1998wth the assstance o the Russanspace agency we estabshed theirst Sovenan vdeo nk wth theRussan space staton Mr, oowed
by Dragan vadnovs perormanceand the show BomechancsNoordung n a lyng mcro-gravtyaboratory as we as the projectsn the Yur Gagarn CosmonautTranng Centre n Star Cty.
As ar as I know, the Sovenangovernment adopted the
resouton n 27 that Sovenashoud cooperate more coseywth the European Space Agency(ESA), whch was oowed bythe vst o a deegaton romths agency to the InsttuteJoe tean and the Chambero Commerce and Industry oSovena. The agreement oncooperaton between Sovena andthe ESA was prepared ast autumn,and t was envsaged that t woudbe sgned at the begnnng o thsyear. Seven years ater, thngs haveinay started movng
In addition to space, you are
interested in two territories, theArctic and the Antarctic, where youintend to build living and workinglaboratories. At last years ArsElectronica estival in Linz, yousaid that i one deals with bothPoles, one deals with everythingin between no doubt particularlywith geopolitics.
Climate change and
art & scienceAs one o the most pressng ssuesacng the word today, cmatechange has become a popuarsource o nspraton and topc tobe expored n art & scence. Weook at some projects here.
Makrolab
One such work s Marko PejhansMakroab a mobe aboratorybut or the research and work o
artsts, scentsts and the meda.Frst set up n 1997, t has beendspayed across the word.Durng 278, the InternatonaPoar Year, the Makroab projectproduced nstaatons n Antarctcaand Nunavut. Many projects havebeen carred out wthn the ab rom research on oca ecoogy toteecommuncatons testng. Theproject ended n 27, but t s beng
contnued wthn the consortum
Interpoar Transnatona ArtScence Consteaton, a networko ndvduas and organsatonsworkng across the ieds oart, engneerng, scence andtechnoogy.
Polar
To boost awareness o cmatechange and address the broadercutura and pocy-reated themes,Arts Catayst a scence art gaeryn London (UK) together wth the
Open Unversty and the BrtshLbrary ran a programme o takscaed Poar. Ths project broughttogether artsts, scentsts, Inutwrters and experts rom otherdscpnes. One tak ocusedon the conography o cmatechange: ce cores, gacers andied statons can be thought o asarchves and spaces o knowedgethat change how we magne and
shape our utures. In ths sesson
the partcpants, whch ncudedMarko Pejhan, debated how thesearchves mght we cam to hodthe words knowedge.
Noahs Ark
Gven Europes rch cutura hertageand the threats posed by cmatechange, Noahs Ark unded by theEuropean Commsson pnponteda number o cmate change actorsthat were key to mpact varousbudng materas. It s the changng
water cyce that may prove mostcrtca, not rsng temperatures. Topresent the projects resuts, theVunerabty Atas was created,outnng the prevaence o eachrsk actor across Europe. The mapsndcate the dangers posed bycmate change. The project asoprovded gudenes or addressngeach threat and suggestng whatshoud be done.
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Art & Scence 23
Interview
The ntatve that oows Makroabs caed I-TASC (InterpoarTransnatona Art ScenceConsteaton) and was ncudedn the Internatona Poar YearProgramme. The goa o our projects to estabsh mobe systems andcommuncaton nrastructure nthe Arctc, n consensus wth the
oca Inut popuaton, and n theAntarctc n cooperaton wth thescentic and mtary geopotcacompex, n accordance wth theAntarctc Treaty. Hstory n tsrhythms s agan workng n avouro our project and s endangerngt at the same tme. As was wepubcsed, a Russan lag madeo ttanum aoy was paced astyear at the North Poe at thebottom o the Arctc Ocean; theres namey a desre that the Russanepcontnenta bet expands
to Canada, and aso vce versarom Canada to Russa; the USA,Denmark, and Norway aso haventerests n the Arctc.
The Arctc s one o the mostneuragc ponts on the panet;nucear submarnes meet there;bastc msses between the USand Russa woud ly above tssurace; ths s an area o massve
nature destructon, whae ks,the dsposa o radoactve waste,submerged nucear submarnes,eectromagnetc pouton wthantbastc radars etc. The Arctcs an area o subme beauty andat the same tme the theatre oArmageddon thrown open. Dueto goba warmng t s becomng
ncreasngy nterestng, snce ts easer to dr there and searchor energy resources; due tothe metng o ce, the so-caedNorthwest Passage betweenEurope and Asa has openedthere. Indgenous peope, theInut, vctms o cassca genocden the 2th century, are not takennto consderaton by anyone.Geopotcs has a short memorythere.
What did you propose to the Inuit,
what do they expect rom you?
The Inut have a destroyed socastructure, as n the 195s and196s Canada moved them ntotowns and ked ther dog teams,whch were a precondton or thernomadc way o e; when acohoentered the pcture, the resutwas an amost tota destructon other cuture. That s why they are
very careu about what the whteman, who s agan destroyngther envronment, ntends to dothere. We have estabshed contactwth the meda-aware group othe Inut, who agan wsh to veas nomads, n a system o mobesoaton, on the and, at the sametme they wsh to be connectedto ther communty and the wordthrough networks, and to have thepossbty to exchange experencesand open meda producton. Thss where ther and our nterestsconcde perecty. Our ntatvewas presented n 26 to the edersn Igook and was accepted ater
many questons and expanatons.
The interests o the superpowersin the Antarctic are most probablythe energy resources
The Antarctc Treaty sgned n 1961was ntended to ensure that thecontnent was entrey dedcatedto peace and research. Terrtoracams are rozen rozen butnot vod! by ths Treaty unt241, whch was negotated by
the countres wth terrtoraaspratons there. The Antarctcs an extraordnary archve othe atmosphere on our panet;by anaysng ts ce cores t spossbe to vew the geoogc andatmospherc hstory o the panet.In the Antarctc ast year, the I-TASCsteam but a se-mantanngweather system usng soar energywhch sends data to networks. Atthe moment, there are two I-TASCteam members n the Antarctc,Sphwe Ngwenya and Ntskeeo
Ntsngha; they are budng andtestng a arger energy system orour poar archtecture. In addton,they as artsts operate an open FMrado staton, whch was aunchedast year, and are makng a imdocumentary. Wth our presenceand sustanabe approach wewoud ke to change the ogc obehavour n the Antarctc.
Sp
ectral-systemcivilianunmannedaerialvehicleandgroundcontrolstation,
Budapest,2006Authors:C-Astralteam(Trost,Stopar,Peljhan)
Ph
otographer:NejcTrost
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24 Art & Scence
Ars ElectronicaWhere: Lnz, Austra
When: Annuay n September
Purpose: Snce 1979, Ars Eectronca has ceebrated art,
technoogy and socety. It brngs together experts
and artsts rom around the word to dscuss and
create avant-garde art and nstaatons mergng
art and technoogy.
Webste: http://www.aec.at/en/
Transmediale
Where: Bern, Germany
When: Annuay n JanuaryFebruaryPurpose: Founded n 1988, Transmedae has deveoped nto
a estva or art and dgta cuture. Its artsts and
exhbtons expore and relect the soco-cutura
mpact o new technooges.
Webste: http://www.transmedae.de/ste/en/transmedae
Dutch Electronic Arts Festival (DEAF)
Where: Rotterdam, the Netherands
When: Bennay n Apr
Purpose: Organsed by the Insttute or Unstabe Meda
snce 1994, DEAF ocuses on art, technoogy
and socety. Through art, concerts, semnars
and perormances, deveopments n art and
technoogy are brought to a dverse audence.
Webste: http://www.dea07.n/
International Festival o Computer Arts(IFCA)
Where: Marbor, Sovena
When: Annuay n May
Purpose: Launched n 1995 by the Vdeo Secton o the
MKC Marbor Youth Cuture Centre, the IFCA
expores ntermeda art, whch connects art and
new meda technooges. Artsts are encouraged
to create wth the Internet, robotcs, vrtua reatyand other technoogy.
Webste: http://chp.un-mb.s/mkc/
Art + CommunicationWhere: Rga, Latva
When: Annuay each summer
Purpose: Snce 1998, RIXC has been brngng together a
arge group o nternatona artsts. Each year
the estva ocuses on a dferent theme and
the exhbtons expore how t reates to meda,
technoogy and cuture.
Webste: http://rxc.v/
Break Festival
Where: Ljubjana, Sovena
When: Bennay n NovemberPurpose: Startng n 1997, the Break Festva was orgnay
a venue or new artsts to showcase ther work.
Now t provdes a way or artsts rom a over the
word who combne art and technoogy to show
ther art to everyone - rom estabshed artsts
and scentsts to the genera pubc.
Webste: http://www.break-estva.org/
COASTOMIZE! and OTHER MIXEDREALITIES
Where: Vezeke, Begum
When: Bannuay
Purpose: Part o the Contemporary Art n East Fanders
bannua event, COASTOMIZE! buds on prevous
relectve desgn experments on how the Began
coast coud evove. Artsts bur the edges between
art, scence, desgn and technoogy, creatng a
new reaty that mxes rea and vrtua.
Webste: http://www.hedendaagsekunst
ndevaamseardennen.be
Festivals
Art & science in your neighbourhood
arselectronica
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Art & Scence 25
Interview
Dr Roger Malna, astrophyscst, s
Charman o the Leonardo organsaton
and the Executve Edtor o the
Leonardo publcatons dealng wth art
& scence ssues. He s also the ormer
Drector o NASAs EUVE observatory
and o the CNRS and Unversty de
Provence Laboratore dAstrophysque
de Marselle n France. He currently
worls n observatonal cosmology on
the SNAP satellte. The ollowng s an
excerpt rom an ntervew between hm
and Marko Peljhan.
Coud you expan the hstory and theman vsons behnd the Leonardo
organsaton and ts pubcatons,
such as the Leonardo Journa, now
ceebratng ts 40th annversary?
The Leonardo organsaton was
ounded by a group o artsts and
researchers who were nterested
n promotng new knds o contact
between artsts and scentsts and
engneers. At that tme the publc
dscusson was ramed by C.P. Snows
concept o the two cultures.
The Leonardo organsaton has
artculated the dea that the artst
could also be the researcher, n the
model o Leonardo da Vnc; that some
artsts made techncal nventons, as
dd scentsts, even though techncal
nventon was not the central objectve
o ether scentic or artstc practce.
The Leonardo Organsaton s now
40 years old and has publshed the
work o some 5 500 New Leonardos.
Leonardo publshes a seres o prntand electronc journals and book
through MIT Press. There are now
over 30 Leonardo Books n prnt. Our
webstes can be ound at www.olats.
org (French) and www.leonardo.no
(Englsh).
In one of our conversatons, you sad
that you coudnt subscrbe fuy to the
noton of thrd cuture as t has been
advocated by a number of thnkers.
Coud you expan what your thoughts
on ths are?
C.P. Snow had two major pre-
occupatons: one was the act that the
cultures o scence and the cultures o
the arts and humantes were n socal
communtes that nteracted lttle
wth each other and that ths socal
segregaton was harmul to creatng
art orms approprate to our tme. The
second was a concern that n order
to address the needs o economc
and socal development, scence
lteracy was necessary and generalpublc polcy-makers were lackng t.
Progress has been made n 50 years
to address these ssues and much
remans to be done.
I dont see the problem as developng
a thrd culture, whch I thnk s not
desrable, but rather creatng wthn
our nsttutons enough cross-
brdgng systems so that art/scence
nteracton can be acltated and
enabled. The problem o course s that
untl you experment, t s oten hardto tell whch artscencetechnology
nteracton wll be productve.
Artsts have an mportant role to play
n ths cultural revoluton that wll
need to take place. There s a need
to create platorms or artscence
and arttechnology nteracton
wthn our strateges or mtgatng
anthropogenc clmate change.
The cutures of art and the cutures of
scence are compex compementary
andscapes. You, as a scentst, havehad numerous nteractons wth artsts,
due to the nature of your work. How do
you see ths reatonshp deveopng
n genera and where woud you ke
to see mprovement? Do you thnk
that the relecton of the art/scence
practces s adequate?
There s a growng proessonal
communty o New Leonardos.
By ths I mean a varety o types o
proessonals. In some cases ndvduals
have irst-rate lnked careers both as
research engneers or scentsts, and
also as proessonal artsts or other
cultural proessons. There are teams
whch brng together artsts, scentsts
and engneers or specic project
purposes. There are also artsts who
through ther research or art are
makng make sgnicant contrbutons
to scence or technology.
Because o the nature o artscence
practce t s very much dstrbuted
rather than centralsed. We need toind ways to make the communty
vsble to tsel but also to make the
work accessble to a larger publc both
n cvl socety and government.
The man probem for art/scence
coaboratve work and projects s
fundng, snce the practces do not it
we wthn the art doman and of course
aso not n the scence one. Due to your
decades-ong experence n workng
wthn the ied, woud you have any
fundng pocy recommendatons forths new and mportant ied?
The Leonardo Educaton Forum
s currently developng a Whte
Paper wth recommendatons or
educaton. We also held recently an
onlne dscusson called To PhD or
not to PhD on the topc o whether
artscence and arttechnology
practce requres more PhD-lke
tranng programmes. One goal s to
develop dferent knds o platorms
that enable these practces.
It would be good to take stock agan
o the stuaton n Europe, denty
best practces and examples, and
establsh a new road map to avour
the appearance o New Leonardos
n Europe that can contrbute to
the resoluton o the burnng ssues
acng us n the decades ahead.
I thnk exstng undng mechansms
can readly be adapted to address the
work o New Leonardos.
Roger Maina and the New Leonardos
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26 Art & Scence
Institutions
Arts Catayst s an organsaton thatworks to promote cooperaton andunderstandng between art andscence. By brngng togetherartsts, scentsts, researchers andthe genera pubc, Arts Cataysts abe to oster a wder dscourseabout art and scence n socety.The roe and mpact art and scencehave s argey overooked and thedea o art & scence, a snge entty
and a unque ied n ts own rght,needs to be promoted to a wderaudence.
Founded n 1993, Arts Cataysts a London based organsatonbut coaborates wth artsts andscentsts rom a over the word.Its goa s to create a daogue wththe contemporary arts and to ookat the reatonshp between scenceand everyday socety. Ths sacheved through the organsaton
o workshops, resdences,exhbtons, events, aboratores,conerences, research projectsand educatona and partcpatoryprojects whch deveop upon thesedeas and exchanges.
Arts Catayst presents ts works n avarety o venues such as gaeres,museums and pubc spaces n theUK, across Europe and a over the
word. Ths aows the message oArts Catayst, the abty o art andscence to work together to mpactsocety, to reach the wdest rangeo peope possbe.
A range o dferent projectsanaysng dferent ntersectonso art and technoogy have beenundertaken by Arts Catayst. TheSpace Cuture Symposum, orexampe, examned the ntersectono space scence, technoogy and
art rom a cutura perspectve.Poar: the art and scence ocmate change combnes art andpubc dscourse to draw attentonto the efects o cmate change.The UK amphbans studybrought together the pubc andied researchers to nvestgatethe decnng number o certanspeces o amphbans n the UK.These projects, aong wth the
other projects and commssonsthe Arts Catayst has organsedor produced, are ntended to beprovocatve, payu and rsk-takng,wth the am o sparkng a wdernterest n the topc expored andntatng a wder pubc dscourse.
By workng wth nternatona artstswho ocus on dferent eements oresearch and technoogy and whoexpore them through dferentmeda, Arts Catayst s abe to oster
an extremey dverse network.Programmes and exhbtonsorgansed by Arts Catayst work tooster not ony the understandngo art & scence as orce n socetybut aso cutura understandngacross borders.
Art + science = understandingArts Catayst the scence art agency s devoted to brngng together the art word and the
scence word to foster understandng between the two through unque projects and commssons.
SPOTLIGHT ON THE ORGANISATIONName Arts CataystCountry Unted KngdomEstabshed 1993Specasaton Fosterng understandng and cooperaton between art and scenceWebste http://www.artscatayst.org/
An nsttuton or the promotono contemporary nvestgatveart, the Kapeca Gaery amsto present artstc practces andprojects whch topcase everyorm o contemporary e. Weperceve nvestgatve art as asocay responsbe productono vaues and meanngs whch, by
posng questons whch do notend themseves to smpe answers,co-shapes the understandngand nterpretaton o thecontemporary word. The gaerypresents works o art that actveyexamne socay acknowedgedvaues and nvte vstors to relecton them. The Kapeca Gaery s
thus not ony a space nto whchinshed artworks are exhbted, ts an actve producton patormwhch encourages, actates andshowcases exporatory artstcproducton, and stmuates acrtca understandng o the tmewe ve n.
Pushing the boundaries of art & scienceAre you ookng for a pace where artsts push the boundares of what s art,
combnng what mght tradtonay be conined to scentic ieds wth artstc expresson?
If so, the Kapeca Gaery n Ljubjana (Sovena) may be the answer.
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Art & Scence 27
Institutions
The gaery programme comprsesexhbtons, perormances concertsand ectures. The exhbtons areargey partcpatory nstaatonsor responsve envronments nwhch the vstor s a part o theartstc process. Responsveness,nteractvty and ndrectresponsbty are concepts whchvstors are aced wth on a reguarbass. In perormances the artstsaddress the pubc as drectyas possbe, transormng thevstors through partcpaton ntoeyewtnesses. These ve eventsare typcay devod o the stageogc that characterses tradtona
perormng arts; nstead theaudence s nstructed nto the eventwth a vsua anguage that excudesthe spoken word. Vsua ntegences aso stmuated by sound andmusc projects where orms osonorty may be experenced at theeve o ndvdua objects, texture,constructon or soundscape. Wenurture a better understandng
o contemporary art wth crtcaand theoretca ectures by artsts,experts and scentsts rompartcuar specased ieds.
In the 12 years snce ts ncepton,Kapeca Gaery under the eadershpo Jurj Krpan has managed to orma dstnct and nluenta productonpatorm whch was even entrustedwth severa projects o natonamportance. In 23 we carred outthe Sovenan presentaton at thenatona pavon o the 5th VenceBennae, n 26 we reased the 5thTrenna o Contemporary SoveneArt U3 at the Ljubjana Gaery
o Modern and ContemporaryArt, and n 27 we aunched theconceptua gaery Cosnus, whchshowcases Sovene artsts at theEuropean Commsson budng nBrusses. In the next three years wew tour major European gaereswth the group exhbton Ecoogyo a Techno Mnd, whch w beaunched n September 28 at
the Ars Eectronca estva n Lnz,one o the most mportant estvaso meda art n the word. We wpresent Sovenan ntermeda artn reaton to the nternatonaartstc scene, wth emphasson the exporaton o changesnjected nto socety by scence,technoogy and novety whchdrve contemporary socety.
Through actve cooperaton wthnsttutons that are nvoved n asmar enterprse (networkng),ongong actvtes to estabshconnectons between art andscence and art and the economy,
as we as eforts n cuturapocy, Kapeca strves to postoncontemporary nvestgatve artamong actvtes that crucayco-shape the vaues o modernsocety a part o socety whchsees beyond purey commercanterests and s hstorcaynterested n contrbutng to thecvsaton o dferent cutures.,
SPOTLIGHT ON THE ORGANISATIONName Kapeca GaeryLocaton Ljubjana, SovenaSpecasaton Actve relecton on scence and technoogy through the artsWebste http://www.kapeca.org/
LJU COSINUS BRX Gallery
In September 26 the LJUCOSINUS BRX Gaery was set upon the ntatve o the SovenanMnstry o Foregn Afars. Locatedn the European Commsson(Brusses), the programme s run bythe Kapeca Gaery. Its goa s toeature artworks based on topcassues n scence and technoogy,
thereby promotng the ied oart & scence. Snce the openngproject Umbot Noordung by DunjaZupan and Dragan vadnov,the programme has eaturedModux 2426 by the BrdA ArtCoectve, Recycng Strateges bySao Sedaek and rom October27 to February 28, Stuatona
Awareness by Marko Pejhan. Inaddton, the gaery presented an
exhbton on the Makroab projectby Projekt Ato Insttute. Makroabs an ongong mobe aboratoryset-up or open and ntegraresearch and the common worko artsts, scentsts and tactcameda workers n the ieds oteecommuncatons, mgratonsresearch, weather and cmate.
SKUCGalleryPhotographer:DejanHabicht
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28 Art & Scence
Western Balkans Countries
Many ntermeda centres based n the Western
Bakans emerged n the md-1990s, thanks to an
ntatve by the Open Socety Insttute, whch was
ounded by George Soros. Ths prvate ntatve
mobsed groups o nteectuas and socay
conscous ndvduas. To overcome the states
contro over the low o normaton n Eastern
Europe, mutmeda patorms were estabshed to
provde access to the Internet, ema and desktop
pubshng.
Today the centres are supported by pubc andprvate unds and enjoy a synergstc reatonshp
wth government. They have outgrown ther basc
actvtes and now act as spaces or anayss and
relecton on newy emergng soca paradgms
that are acceerated by scentic and technoogca
nnovaton.
Multimedia Centres Networko Slovenia (M3C)www.m3c.s/dat/M3C/M3C s an norma network o centres whch
connects dgta technooges that are based
on an open, knowedge socety, cuture & art,nnovaton and educaton. The network was
estabshed n the 1990s and expanded wth
support rom the Sovenan government. In
2004 a network o nne Sovenan mutmeda
centres obtaned undng rom the European
Regona Deveopment Fund to urther deveop
nrastructure and normaton that supports
normaton technoogy and dgta cuture.
Ljubljana Digital Media Lab(LJUDMILA)www.judma.orgLJUDMILA s a not-or-proit dgta meda aboratory.
It was ounded n 1994 by a group o new medaartsts and has extensve experence n connectng
new meda technooges wth artstc and actvst
projects. LJUDMILA s now a centre or meda
consutng, dgta meda producton & archvng,
as we as ree sotware a nd hardware deveopment
and support. The ab hosts the Sovenan Creatve
Commons ntatve and organses events deang
wth ree cuture.
Multimedia Institute (mi2),Zagreb, Croatiawww.m2.hrm2 s an NGO estabshed n 1999 and opened
ts pubc space, net cuture centre MaMa, whch
became a popuar meetng spot n 2000. m2s
goa s to promote and educate the pubc on
meda cuture, socay orented approaches to new
technooges and deveopments n soca theory.
The nsttutes actvtes ncude norma educaton
and tranng n technoogy and dgta meda, ree
sotware deveopment, promotng crtca socatheory and pocy and advocacy work.
The Sarajevo Center orContemporary Art (SCCA/pro.ba)www.scca.baSCCA was ounded by the Open Socety Fund
Bosna and Herzegovna n 1996. It s a mobe
art centre wthout ts own gaery space. Most o
ts projects are reased n Sarajevos open spaces.
The sht rom an art-orented space to non-art-
orented paces has created a new art scene.
SCCAs mutmeda producton department,
pro.ba, produces orgna work n new meda,encourages students and others to rease ther
own projects usng dgta technoogy and
provdes assstance to artsts n creatng works
n new meda.
New Media Center_kuda.org, NoviSad, Serbiawww.kuda.orgNew Meda Center_kuda.org ounded n 2000 s
an ndependent organsaton brngng together
artsts, meda actvsts, researchers and the wder
pubc. Kuda.org supports cutura daogue and
aternatve methods o educaton and research. It
ocuses on, among other thngs, the nluence oeectronc meda on socety, and the creatve use
o new communcaton technooges. It provdes
normaton va ts brary, medatheque and dgta
archve; organses ectures, workshops and pubc
presentatons by artsts, meda actvsts, scentsts
and researchers; and supports not-or-proit artstc
producton as we as nterdscpnary research and
expermentaton.
The Visual and Cultural ResearchCentre (VCRC), Skopje, FYR oMacedoniawww.euba.org.mk/eng/ndex.aspVCRC s part o the Euro-Bakan Insttute. Snce
ts creaton n 2006, VCRC has been commtted
to nterdscpnary research n the ied o vsua
cuture and nterpretng the soca and potca
mpcatons o art, cuture and meda. VCRCs
projects dea not ony wth the ways n whch art,
cuture and meda relect socetys hdden patterns
and mechansms, but aso expore new modes oart-based soca and cutura change. These projects
address the urgent queston o how to hande oca
and margnased cutures durng the transton to
EU membershp.
KONTEJNER | bureau ocontemporary art praxis,
Zagreb, Croatiawww.kontejner.orgKONTEJNER s an ndependent not-or-proit
organsaton that was ounded n 2002. KONTEJNER
supports the crtca examnaton o the roe and
meanng o scence, technoogy and the body ncontemporary socety. It s nterested n mutmeda
and nterdscpnary projects at the juncton o
scence, technoogy and art. KONTEJNER aso
started a producton patorm, DIY_ARTLAB, whch
stmuates coaboraton between oca artsts and
experts rom varous scentic and technoogca
dscpnes.
Tirana Institute o ContemporaryArt (TICA), Tirana, Albaniawww.tca-abana.org/ndex.htmTICA s the irst permanent patorm or
contemporary art n Abana. It organses
exhbtons, im screenngs and perormance eventsn addton to creatng a orum or dscussons
and debates. TICA aso ofers an orgna artst-
n-resdence programme gvng support to oca
artsts and promotng cross-cutura exchange n
the Bakans. Through ts work, TICA ams to create
an ndependent outet or soco-potcay engaged
contemporary art.
The intermedia centres
of the Western Bakans
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Art & Scence 29
From ths pubcaton we haveseen that artsts no onger ony usether pantbrushes but are makngu use o the new materasand technoogy avaabe n thebegnnng o ths 21st century:new materas, recycng methods,eectroncs, cybernetcs, sotware,teecommuncatons, normaton
systems and so on. And t s not just a queston o equpment the actua mode o presentngart has atered, wth perormanceart, or exampe, nteractng wthand nvovng the audence. Thstoo has meant changes n theway that artsts operate; manynow work wth scentsts onnterdscpnary projects and n
jont artscence spaces.
On one thng there seems to beconsensus and ths s conirmedby the Leonardo Educaton Forum:urther research s necessary toexpore the boundares betweenartscence and/or scenceart.
Some are cang or more studynto the nterace between art and
scence to dscover new appcatonsand argue that there shoud be moreroom or expermentng on thenteracton whch n turn can eadto urther and other appcatons.Others are cang on the need touse more the mx o art and scenceto create pubc awareness.
From the above, some concusonscan be drawn.
Frst t seems that ths newdscpne whether you ca tthrd cuture or not s a dscpneworth anaysng urther. Somemore academc anayses on thehstory, the current state o theart and best practces shoud hepunderstandng the potenta o thecross-ertsaton between art and
scence. A roadmap to stmuatedeveopment o art & scencewoud be a useu too.
Secondy, the dea o usng artto communcate on scence andtechnoogca progress and theroe t can pay n creatng pubcawareness and communcatngneed to be consdered more. Asthe artces aready demonstrated,
Some conclusions
Some concusionsWhere are we after havng ooked and read through ths pubcaton: n a vsua art gaery? In anartstc aboratory? Lost n space? In the Antarctca, wonderng what s gong to happen to the
human race and hopng that the cross-fertsaton between art & scence w save us?
MarkolabmarkllexCampaltoOperations,VeniceBiennale,CampaltoIsland,
Venice,JunetoNovember2003picturetakenbytheQuickbirdsatelliteinJuly,2003
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3 Art & Scence
ther work can be used to tacketopca themes cmate change,poverty, waste management orgenetc modicaton. The projectCommuncaton outreach nnanotechnoogy, unded byEuropean Commsson, s a sodstep n the rght drecton. By ookngat how best to communcate aboutnanotechnoogy, t concuded thatart was we suted to the task ocatchng peopes attenton. Butmore needs to be done.
In pursut o the successu project,t seems that dong somethngsmar to create awareness on
cmate change s the next topcassue n pont. We w a be afectedby the resuts o cmate change. It sone o the greatest envronmenta,soca and economc threats acngthe panet. How thereore coudart & scence be used to boostthe pubcs awareness o cmatechange? In ths, artsts have anmportant roe to pay.
Thrdy, t seems that a new typeo researcher/scentst s bengborn caed artstc researcherwho s nvoved n the appcatonso art & scence and who needs,n order to pursue the thnkngand the appcatons, to acquremore knowedge about scenceand technoogy. Dr Roger Mana,Charman o the Leonardoorgansaton suggests a PhD-ketranng programme. Coud next tothe we-known Mare Cure grantsunder the EC research FrameworkProgramme, grants be consderedor the New Leonardos?
Fourthy, the dea o actatng thentegraton o the Western BakanCountres through ntercuturadaogue and cutura n thebroad sense .e. stretchng t toart & scence needs aso to beurther examned as a means toprovde better understandng andacceptance o a new regon wthEU perspectve. As the tte o ths
pubcaton Art & scence: creatveuson suggests, art & scence canhep to brdge cutures; n partcuarthe exampe o the Western BakanCountres has been hghghted.
Fnay, why not consodate andexpand on the knowedge on art& scence by creatng a patormenabng and actatng artstsand scentsts and pocy-makers tomeet and exchange deas, meansand knowedge? Indeed, to deveopths ied urther, there needs to be apace where the dferent teams canmeet. Artsts and scentsts do notwork n soaton. A major drve or
coordnaton and normaton andexchange o data and knowedgewoud hep estabsh a cuttng-edgethrd cuture that combnes thework o artsts and scentsts. Ando course, such patorm shoud beopen to the word, as we have seenthat ths creatve uson s areadyshapng n dferent corners oEurope and the word.
Some conclusions
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European Commsson
Art&Science - Creative Fusion
Luxembourg: Oce or Oca Pubcatons o the European Communtes
28 42 pp. A4, 21. x 29.7 cm
ISBN 978-92-79-08819-3
DOI 10.2777/96175
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