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ISBN 978-92-79-08819-3
DOI 10.2777/96175
Printed in Belgium
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Acknowledgments
SLOVENIA
EUROPEAN COMMISSION
Foreword
Art and science are usually thought to belong to two
different worlds: one of beautiful pictures and sculptures
in galleries and the other showing researchers in white
coats conducting experiments in laboratories. In recent
years, however, the boundaries between these two
domains have become increasingly blurred. It seems
that we are doing in the beginning of the 21st century
what our ancestors did at the beginning of every new
century: being pressed to find a new direction in visual
art. And this time, science and technology are playing
a significant role in influencing this new form of art.
Moreover, every decade brings about new forms of art
and technology.
© Helena Zadnik
researchers are realising the artistic elements of their
work and finding ways to use art to communicate
better. An exciting new discipline is rising – termed
the ‘third culture’.
Table of contents
Acknowledgments................................................................................................................................... 3
Foreword.................................................................................................................................................... 5
Theory behind art & science................................................................................................................... 7
Reflection on art and science: creative fusion.........................................................................................7
What is the third culture?................................................................................................................................8
Practical application................................................................................................................................ 9
Contemporary research art.............................................................................................................................9
Biology beyond the lab................................................................................................................................. 10
Biotechnology art................................................................................................................................... 11
Art and science – evolving symbioticAlly............................................................................................... 11
The lab is now a studio.................................................................................................................................. 12
Nanotechnology art............................................................................................................................... 13
Communicating nanotechnology through art ................................................................................... 13
Cybernetic art.......................................................................................................................................... 15
Are you a zombie-cyborg? According to Stelarc, we all are............................................................. 15
Speech and sound art – it’s electrifying!................................................................................................. 16
Cybernetics – combing the human body and machines.................................................................. 17
Information art....................................................................................................................................... 18
Technology with a side of social commentary .................................................................................... 18
Junk or art?........................................................................................................................................................ 19
Interview.................................................................................................................................................. 20
Marko Peljhan: between art and science
The Zaum (Transreason) of Civilization................................................................................................... 20
Festivals.................................................................................................................................................... 24
Art & science in your neighbourhood..................................................................................................... 24
Interview.................................................................................................................................................. 25
Roger Malina and the New Leonardos...................................................................................................... 25
Institutions............................................................................................................................................... 26
Art + science = understanding................................................................................................................... 26
Pushing the boundaries of art & science ............................................................................................... 26
Western Balkans Countries................................................................................................................... 28
The Intermedia Centres of the Western Balkans.................................................................................. 28
Some conclusions................................................................................................................................... 29
Already in modernism, art was often interested remain within the ivory towers of science. Thus far, there have only been demonstrations
in scientific work. Classifications and science- Rather, the creative thoughts emerging from of what is possible rather than fully worked
based technologies have particularly inspired extraordinary gatherings in society must be out in collaborative projects. It is therefore
many artists. The intention of this type of made accessible to the public at large. This very important to study further the interface
art was to be either critical or poetic. Critical creative fusion between art and science can between art and science and to promote the
because, for example, the basis for some take many forms such as creating awareness potential of this cross-fertilisation or rather
classifications was questioned or because the on important societal issues as a result of creative fusion.
significance of some technological discoveries technological progress. Or simply the use of
was doubted. Poetic because the relationship information technology in art as demonstrated Professor Willem Elias
between art and science was felt, but above in digital art. Vice-Dean Psychology
all because one was interested in the form that and Education Faculty
science was taking.
Artistic research is an important element of both gap, according to Snow, negatively impacted in the 1950s has been overcome and arts &
the art and the science worlds. Artists no longer both fields. He predicted that a new generation science, the third culture, has brought the two
feel the need to create solely for an object- of scientists would close the communication worlds together.
centred art market. Instead, many artists are gap between these two cultures.
now exploring new creative forms where they The ideal projects we are envisioning and
find and invent projects that do not fit into the Today we can see Snow’s predictions coming presenting intend to strengthen the field of
traditional art world. These people are reaching true. There is a growing and innovative field artistic research at the interface of art and
across cultural barriers and forging something of art that has taken to using science and science. Both cultures, art and science, have
new and unique. research to make thought-provoking pieces. in common human curiosity, creativity and
Artistic research is becoming commonplace the desire to understand and represent the
Artists and researchers have taken elements and not only artists and scientists appreciate unknown. The initiators of theses projects are
from science and the humanities – two distinct it. The general public is becoming aware of of the opinion that the differing epistemics and
and well-established cultures – and created a this field and being brought into the third forms of knowledge production can be used
third. This third culture – arts & science – is a culture as well. productively in the collaborative work of artists
bridge between the two old ones. Artists are and scientists.
now able to use elements of science in new and The third culture very much exists today.
exciting ways to generate creative results. Look around and see any number of artists In the form of collaborative art-and-science
who take elements of science – biology, research projects, reciprocal exchange and
The concept of the third culture was first nanotechnology, cybernetics, information public presentations, these projects create an
introduced by C.P. Snow in 1959 as he lamented technology – and incorporate them into their intercultural landscape of aesthetic and ethical
the gap that had formed since the 19th century work. The extreme gap that Snow observed knowledge production.
between humanities and natural science. This between the humanities and natural science
niques. Instead of traditional paint- ity of the installation, text or sound, of whole new generations of art
ing and sculpting materials in their but within the direct experience, the audiences, relegates the 500-year-
projects, artists use the objects, process and more or less participa- old concept of belle arti to mere
technology and software employed tory constitution of the art. historical reference.
by science and technology. Comput-
ers, electronics, navigation systems, New means of
software, analogue and electronic presentation
telecommunications, information Jurij Krpan
systems and so on are now available This brief introduction to the prac- Art Director of Kapelica Gallery &
to almost anybody. The use of these tical application of art & science Cosinus brx Project
Humans have been trying to manipulate Menezes has also used cell biology techniques
nature since the dawn of time. This has usually and DNA to produce art. With Nucleart, special
been for practical purposes, domesticating DNA is used to paint the nuclei of human cells.
animals, for example. Marta de Menezes uses By controlling what chromosomes or groups
this concept, but modifies nature for artistic of chromosomes are painted, the artist is
objectives. able to create a controlled image, one that is
only able to be viewed with a laser scanning
Nature? is one such project. Menezes modified microscope. The images help researchers
butterfly wings to create designs that have better understand the organisation of the
never before occurred in nature. Only one human nucleus.
wing has been designed by the artist so
the difference between the natural and the To paint brain activity, Menezes has employed
artificially designed can be fully appreciated. MRI technology to photograph the brain.
In altering the wings of the butterflies, Functional portraits is an attempt to record
Menezes does not modify the DNA, keeping the brain while a subject performs a specific
the genetic line pure. The art has a lifespan, task, like playing the piano. The brain produces
that of the butterfly. complex activity patterns during different
activities which can be recorded by MRI and
“painted” by the artist.
Communicating
nanotechnology through art
How can the public be helped to better understand and engage with nanotechnology?
How should nanotechnology be communicated? This European Commission project
has some suggestions.
A relatively new science, science centres and other science an instrument well suited to the
nanotechnology is a popular topic communication organisations, task of catching people’s attention.
in the media but the general public whose recommendations were The aim is to reach people who are
does not fully understand what it is then published online for public usually not involved and stimulate
and what it aims to achieve. At the consultation, to which hundreds of their curiosity, either by providing
same time, it shows promise for comments were contributed. stimuli through perception,
use in fields like medicine, energy dance and art and adopt a user-
and materials but more research A second workshop was then oriented approach, answering
and regulation is felt to be needed organised, with the help of experts the question “Why should I be
and stakeholders hold varying from the fields of philosophy interested?” The activities would
attitudes towards the field, from and sociology of science, science provide basic information about
trust to concern and caution. communication, science centre nanotechnology, what it is and
professionals, as well as artists what implications it has, keeping
In this context, the European and graphic designers, such as it simple and realistic without
Commission wants to promote the BridA Art Collective (see box). oversimplifying. They would stress
an integrated, safe, responsible The objective of the exercise the fact that nanotechnology
and socially acceptable approach was to detail appropriate actions is not magic, it’s a science
for the development and use of in science communication and that has methodologies and
nanosciences and nanotechnology. dialogue building with society. interdisciplinary work behind it, it
To achieve this goal however it is The project drew up a set of is not static knowledge acquired
crucial to find ways of informing operative recommendations once and for all but an evolving
the public about the results and for future European funding on technology where new information
implications of such studies. At appropriate communication and is gained every day and new
the same time, it is necessary to innovative approaches to engage perspectives may emerge.
learn more about public opinion the European civil society into a
on nanotechnology and to build dialogue on nanotechnology. One proposed activity would be
mechanisms that will allow a virtual guided tour to a nano-
open and accessible channels Art & science environment, to give the idea of
of communication to be put in scale and nano-dimensions. A
place in order to connect different Interestingly from an art & science guide or mascot (sympathy figure)
groups of stakeholders, with a perspective, one recommendation could be used to show the visitor
view to fostering engagement and was to develop new models and around the virtual environment
dialogue in society. tools for communication, dialogue – e.g. “Captain Nano” or a user-
and engagement, especially generated avatar or a combination
The project those could be considered “light”, of the two. Edu-tainment tools
unconventional and emotion- can be made available. This kind
As such, the project “Communication based – e.g. theatre, art, fairs. of media can also be designed
outreach in nanotechnology: from The workshop identified various to work both for leisure and for
recommendations to action” was actions directed to the general professional/school time.
organised by the Commission, public with the objective of
including two workshops in stimulating curiosity, raising Contemporary nano-art
February and October 2007 and awareness and collecting feedback festival
© BridA Art Collective
art in various domains, where together. Interactivity with the be an art exhibition with installations
nanotechnology is interpreted public is a particularly important that introduce the public to the
using various arts and disciplines. aspect of this kind of event and creative processes by offering the
This event should be modulated input from the public should also possibility of interacting with the
to target different audiences and be welcome. artworks. These could change
include policy-makers to maximise following actions carried out by
impact and media coverage. Events In addition to workshops, short films users. Nanophysics laws could be
should be planned by groups and connections to the “outside introduced in the design of the
with mixed competencies, such world” via the Internet, webcams, artwork itself. A talk by a scientist
as scientists, artists and designers some possible components would could also be given, connected
to an artistic means of expression
SPOTLIGHT ON THE PROJECT interpreting the words and giving
Name ommunication outreach in nanotechnology:
C them perceptive depth, through
from recommendations to action visual aid or an artistic performance
Specialisation Workshops and consultation process run by the European Commission where dancers interpret what the
Directorate-General for Research (Directorate G – Unit G4: Nano- and scientist says through movement.
Converging Sciences and Technologies), in February and October
2007, Brussels Recommendations on the best way to proceed with
the communication of nanosciences and nanotechnologies
Website http://cordis.europa.eu/nanotechnology/src/consultation.htm
The BridA Art Collective compared to a traditional drawing yourself (2005), in which the audio
resembling a network of wires instructions for creating a picture
One participant in the and channels. In such case, the became the actual artistic product,
“Communication outreach in drawing would be understood as while the actual final product (a net
technology” project was the BridA a topographical grid for combining of squares representing a digitalised
Art Collective, specifically Tom information in diverse ways, image) could be made by anyone
Kersevan, Sendi Mango and Jurij multiplying it, dividing it, adding it following the audio instructions.
Pavlica. Based in Slovenia, the up and subtracting it, drawing the In this project, BridA included the
Collective was formed during the path to the final message in some random visitors for the first time,
artists’ studies at the Academy of sort of system of coordinates.” giving them the opportunity
Fine Arts of Venice in 1996 and to create an artistic product by
chose the name “BridA” as it cancels Another project, MODUX, comprised themselves.
traces of individuality within the an analysis of the process of creating
group and establishes a new body a work of art from the fundamental In MODUX, BridA addressed several
capable of existing and functioning information, through processing dilemmas of the modern society,
autonomously. BridA is currently and interpreting it, to the final related to technology and art. The
researching the transmission of product. BridA developed the creative process of the paintings
information and application of project in stages, involving not only is linked to the empirical view of
nanotechnology research to the the development of the process the world on which Western art is
artistic process, placing it in an but also of the project concept. A based. In this view, the measured
excellent position to participate in mural in Tarcento (2004) concerned value is the only true proof. A
the Commission’s project. One of transforming a digital image to piece of measured information
its most recent works, Information such a low pixel density that the net is something we all believe in
Accelerator, unites and combines of coloured squares became clearly and accept to be true. Even the
the processes of transmitting and recognisable and the original modern media is supplying us with
receiving information, of directing image was not discernible. This a multitude of truths, backed up
and channelling it in an extensive image record was subsequently with documentary materials. When
system of tubes or pipes. The converted to audio instructions creating a painting, BridA performs
module spanned the entire gallery for colouring in the square fields, a subjective selection of a segment
as some kind of conduit, making to obtain an image trapped in the of a piece of single information and
© BridA Art Collective
the flow and processing of all kinds net. This experimental product the “apparent scientific”.
of information possible. In BridA’s was later developed by BridA into
words “such a structure can be a project titled Naredi sam/Do it Website http://www.brida-kud.si/
Andy Gracie ©
Artistic development and construction: Andy Gracie
Software development: Brian Lee Yung Rowe
Originally commissioned by Avfest for AV06
Completed with the aid of a grant from Arts Council of England
Developed during a studio residency at Comafosca, Alella,
Barcelona
Ken Rinaldo ©
Photographer: Yehia Eweis
Photo: Kiasma Museum Central Art Archives/Yehia Eweis
Kapelica Gallery ©
Photographer: Miha Fras
Dragan Živadinov ©
Photographer: Miha Fras
www.hedendaagsekunstindevlaamseardennen.be
© FLC extended/COASTOMIZE!
Knowbotic Research’s projects make strong Knowbotic Research also exhibited their
points about important social issues facing project Naked Bandit at the 2008 Synthetic
Europe and the world. BlackBenz Race, a Times in Beijing, China. This project uses a flying
semi-fictitious car race in 2007, traced the path robot, latex balloons and an audio system to
made by Kosovo-Albanian migration through examine the conditions and treatments of
Europe. The metaphor of the illegal car race suspects or prisoners of war. A small zeppelin-
highlights the intersection of the public sphere like robot follows the spectator while a
and the migrant network. Furthermore, the repetitive voice says, “Naked bandit. Here, not
black Mercedes Benz in itself is a paradox: it here.” A computer monitor further urges the
is a symbol of mobility, trading and trafficking spectator to intervene and if enough people
that is part of migrant life while at the same do the male voice stops. This project gives the
time being a status symbol for the upper class spectator a sense of situation and the lack of
of society. rights that prisoners of war are given.
At the 2008 Transmediale festival in Berlin, Combining technology and art installations,
Knowbotic Research presented its project Be Knowbotic Research is able to inform the
prepared! Tiger!. The project, in part, re-enacts public about a wide variety of pressing social
a propaganda video of the Tamil Tigers where a issues. These unique art installations show the
stealth boat emerges from the water. Through power that art & science can have in regards
extensive research, Knowbotic Research to educating the general public.
was able to recreate the boat. Although it
appears to be unmanned, the craft is guided
by a person inside. The artists explore the fine
line between visibility and invisibility while
drawing attention to the conflict in Sri Lanka.
Junk or art?
Slovenian artist Sašo Sedlaček takes what most
people would consider junk and combines it with new
technologies to create unique art.
© Saso Sedlacek
solution for reusing space junk preventing the
creation of further junk.
In spring 1994 on the Croatian etc.), to develop life support, completely differently, on the
island of Krk, Marko Peljhan tactical media, communication and other, by dismantling the concept
was contemplating his next creation systems in the Arctic and of a social state and endangering,
performance, while explosions Antarctic in the framework of the consciously or unconsciously, the
could be heard from the mainland International Polar Year. He received fundamental democratic values. I
and the sky was filled with military the 2007 Prešeren Award and several think that utopia must always be
air traffic. At that moment, he international awards, one of these seen from the perspective of the
decided to transfer his artistic work being the 2002 Golden Nica Award liberation of the subject; only a
from the stage to a wider area, at the Ars Electronica Festival for Art, conscious and liberated subject
which today spans from the North Technology, and Society in Linz for is capable of utopic projection.
to the South Pole, from the Earth to the work he created together with This is a very complex social
outer space. Peljhan is a visionary Carsten Nicolai entitled Polar. Since and psychical operation, which
whose artistic work incorporates 2002, Peljhan has been a professor naturally has better chances of
knowledge from an extremely broad at the University of California in being realised in art – which, in
spectrum of areas, from art rooted Santa Barbara and is one of the my opinion, is primarily intended
in the avant-garde, to science, initiators for the establishment of for the reflexion and projection of
technology, military strategies, and the Slovenian Space Agency; at the such liberty – than in politics, which
social theories. His ethical creativity end of 2007 he was named one of since the enlightenment has been
is aimed at liberating the subject, the ambassadors for the Year of submitted to very pragmatic and
while in his utopian projections he Intercultural Dialogue. functional goals, the purpose of
exposes the neuralgic spots of this which is to concentrate power and
planet and civilization, where the When taking up your mandate control, and some type of ultimate
system of values transforms into its as the Slovenian ambassador of functionality. There is little space
destructive contrast. the European Year of Intercultural for utopia within the dialectics
Dialogue, you quoted a statement between an individual and the
After working on the Makrolab by architect and social visionary large systems of power. And even
project for 10 years – an art–science Buckminster Fuller: “The world is if ideologies destroyed the avant-
living and research station, which now too dangerous for anything gardes of the 20th century, their
was first presented in 1997 at the less than Utopia!”, which is a utopias live on in art.
10th Kassel Documenta and then counterpoint to the cynicism
set up at different locations in implying that the world is going In your work you most frequently
Europe, the USA and Australia – he its own way and that nothing can refer to avant-garde Russian
now works in conjunction with the be changed or influenced. What is futurist Velemir Khlebnikov, who
team of the Interpolar Transnational your understanding of utopia, in carried out language research
Art Science Constellation (I-TASC), which you refer to the avant-garde and is the author of the term “star
which comprises artists and of the 20th century? language”; he also dealt with zaum
scientists from a number of countries (“transreason” or “beyond-sense”)
(Canada, South Africa, Brazil, New Fuller’s position is a counterpoint to and, almost a century ago, his
Zealand, Iceland, Germany, Russia, both cynicism and the foundation social visions included visions of the
Slovenia, Singapore, India, Belgium, of the western Realpolitik from Internet, global communication,
the United Kingdom, Croatia, Bosnia World War II onwards, which radio, a utopic political system
and Herzegovina, Israel, Lebanon, declares the values that are of world presidents, and mobile
Senegal, Swaziland, Zambia, Chile, generally acceptable, on the living systems, perhaps a form of
the US, Norway, Denmark, Japan, one hand, and which functions predecessor of your Makrolab?
I discovered Khlebnikov at the history of European civilisation. He the military industrial complex.
beginning of my artistic career at believed that he had discovered laws Interesting correlations exist
the end of the 1980s, first through that were beyond the currents of between ideologies, science, and
his poem Ladomir, written shortly history and that the time dimension occultism. In Salzkammergut, in
before his death. Ladomir is a had a very specific rhythm. the framework of a very bizarre
linguistically complex manifesto and occult correlation between the
already in its title, as it consists It is interesting that in the 1960s, Nazis and the development of high
of the concept of lad, denoting without knowing Khlebnikov’s technology, Walter Schauberger
harmony, and mir signifying peace work, Terence McKenna, coming manufactured water turbines by
as well as the world and even the from the circles surrounding means of a system that interferes
cosmos. Simultaneously, Ladomir Timothy Leary wrote the computer with the core of the theory of
speaks of war and destruction, program TimeWaveZero, which is relativity and quantum mechanics.
which is a reflexion of World War I, a digital equivalent of the Tables After World War II, a schism between
and which implies totalitarianisms of Destiny. History can of course the scientists who dealt with the US
and forecasts World War II, which be considered to be a continuum; missile programme occurred; this
almost led to the destruction of the yet there is a fascinating field of small group was split into a very
concept that proved constitutive of research on the laws of time, which occult segment, which was headed
European civilization. can only be dealt with by art and by Jack Parsons and which moved
theoretical physics today, as it has away from the military industrial
For Khlebnikov, language was no credibility elsewhere. complex towards self-destruction,
the key element which had to and an ultra humanistic segment,
be analysed first if the system of But still, although this endangered which was considered to be
concepts on which it is based was their scientific careers, in history problematic in McCarthy’s era.
to be understood. He created a some scientists walked on the
very complex audio- and semantic edge of science, the edge of zaum, Frank Malina belonged to the
topography of the language. One one of them being Nikola Tesla, to latter and was, like Parsons, one of
of Khlebnikov’s key works, which whom you have referred in your the founders of the Jet Propulsion
is rather unknown, is his Tables performances. Laboratory in Pasadena, where the
of Destiny, logarithmic tables or first autochthonous US rockets were
mathematic models, by means of Tesla had a strong influence manufactured. During McCarthy’s
which he analysed key events in the on both the avant-garde and era, Frank Malina moved to France.
He worked for UNESCO and at why do we need such an agency, resolution in 2007 that Slovenia
the same time dealt with kinetic Slovenia is too small …”I responded: should cooperate more closely
art. In 1967, he established the Is it not true that all scientific and with the European Space Agency
journal Leonardo, which is a key engineering applied knowledge (ESA), which was followed by
publication linking art and science. areas come together in aerospace? the visit of a delegation from
At the first glance, these worlds are Are these not some of the most this agency to the Institute
incompatible and people often roll integrated systems enabling that “Jožef Štefan” and the Chamber
their eyes or do not see a connection one can work more and better, and of Commerce and Industry of
between the military industrial be internationally connected? We, Slovenia. The agreement on
complex and art, but to me this is a artists, however, wish to have our cooperation between Slovenia and
highly organic whole and one of the own department, since we have the ESA was prepared last autumn,
key worlds I work in. put everything on the table for you. and it was envisaged that it would
I knew this was possible, as in 1998 be signed at the beginning of this
How about the establishment of with the assistance of the Russian year. Seven years later, things have
the Slovenian Space Agency (SSA) space agency we established the finally started moving …
initiated by you, together with first Slovenian video link with the
Dragan Živadinov and Primož Russian space station Mir, followed In addition to space, you are
Pislak? by Dragan Živadinov’s performance interested in two territories, the
and the show Biomechanics Arctic and the Antarctic, where you
When we presented our idea Noordung in a flying micro-gravity intend to build living and working
about the SSA for the first time in laboratory as well as the projects laboratories. At last year’s Ars
2001 at the Slovenian Academy of in the Yuri Gagarin Cosmonaut Electronica festival in Linz, you
Sciences and Arts, namely at the Training Centre in Star City. said that if one deals with both
first Noordung forum, the scientists Poles, one deals with everything
there stared at us in amazement, As far as I know, the Slovenian in between – no doubt particularly
saying “who are these lunatics, government adopted the with geopolitics. …
Climate change and continued within the consortium shape our futures. In this session
art & science Interpolar Transnational Art the participants, which included
Science Constellation, a network Marko Peljhan, debated how these
As one of the most pressing issues of individuals and organisations archives might well claim to hold
facing the world today, climate working across the fields of the world’s knowledge.
change has become a popular art, engineering, science and
source of inspiration and topic to technology. Noah’s Ark
be explored in art & science. We
look at some projects here. Polar Given Europe’s rich cultural heritage
and the threats posed by climate
Makrolab To boost awareness of climate change, Noah’s Ark – funded by the
change and address the broader European Commission – pinpointed
One such work is Marko Peljhan’s cultural and policy-related themes, a number of climate change factors
Makrolab – a mobile laboratory Arts Catalyst – a science art gallery that were likely to impact various
built for the research and work of in London (UK) – together with the building materials. It is the changing
artists, scientists and the media. Open University and the British water cycle that may prove most
First set up in 1997, it has been Library ran a programme of talks critical, not rising temperatures. To
displayed across the world. called Polar. This project brought present the project’s results, the
During 2007–08, the International together artists, scientists, Inuit Vulnerability Atlas was created,
Polar Year, the Makrolab project writers and experts from other outlining the prevalence of each
produced installations in Antarctica disciplines. One talk focused risk factor across Europe. The maps
and Nunavut. Many projects have on the iconography of climate indicate the dangers posed by
been carried out within the lab – change: ice cores, glaciers and climate change. The project also
from research on local ecology to field stations can be thought of as provided guidelines for addressing
telecommunications testing. The archives and spaces of knowledge each threat and suggesting what
project ended in 2007, but it is being that change how we imagine and should be done.
The Leonardo organisation was I don’t see the problem as developing The main problem for art/science
founded by a group of artists and a third culture, which I think is not collaborative work and projects is
researchers who were interested desirable, but rather creating within funding, since the practices do not fit
in promoting new kinds of contact our institutions enough cross- well within the art domain and of course
between artists and scientists and bridging systems so that art/science also not in the science one. Due to your
engineers. At that time the public interaction can be facilitated and decades-long experience in working
discussion was framed by C.P. Snow’s enabled. The problem of course is that within the field, would you have any
concept of the two cultures. until you experiment, it is often hard funding policy recommendations for
to tell which art–science–technology this new and important field?
The Leonardo organisation has interaction will be productive.
articulated the idea that the artist The Leonardo Education Forum is
could also be the researcher, in the Artists have an important role to play currently developing a White Paper
model of Leonardo da Vinci; that some in this cultural revolution that will with recommendations for education.
artists made technical inventions, as need to take place. There is a need We also held recently an online
did scientists, even though technical to create platforms for art–science discussion called “To PhD or not to PhD”
invention was not the central objective and art–technology interaction on the topic of whether art–science
of either scientific or artistic practice. within our strategies for mitigating and art–technology practice requires
anthropogenic climate change. more PhD-like training programmes.
The Leonardo Organisation is now One goal is to develop different
40 years old and has published the The cultures of art and the cultures of kinds of platforms that enable these
work of some 5 500 “New Leonardos”. science are complex complementary practices.
Leonardo publishes a series of print landscapes. You, as a scientist, have
and electronic journals and book had numerous interactions with artists, It would be good to take stock again
through MIT Press. There are now due to the nature of your work. How do of the situation in Europe, identify
over 30 Leonardo Books in print. Our you see this relationship developing best practices and examples, and
websites can be found at www.olats. in general and where would you like establish a new road map to favour
org (French) and www.leonardo.info to see improvement? Do you think the appearance of “New Leonardos”
(English). that the reflection of the art/science in Europe that can contribute to the
practices is adequate? resolution of the burning issues facing
In one of our conversations, you said us in the decades ahead. I think existing
that you couldn’t subscribe fully to the There is a growing professional funding mechanisms can readily be
notion of “third culture” as it has been community of “New Leonardos”. adapted to address the work of “New
advocated by a number of thinkers. By this I mean a variety of types of Leonardos”.
Arts Catalyst is an organisation that of workshops, residencies, art from a cultural perspective.
works to promote cooperation and exhibitions, events, laboratories, “Polar: the art and science of
understanding between art and conferences, research projects climate change” combines art and
science. By bringing together and educational and participatory public discourse to draw attention
artists, scientists, researchers and projects which develop upon these to the effects of climate change.
the general public, Arts Catalyst ideas and exchanges. The “UK amphibians study”
is able to foster a wider discourse brought together the public and
about art and science in society. Arts Catalyst presents its works in a field researchers to investigate
The role and impact art and science variety of venues such as galleries, the declining number of certain
have is largely overlooked and the museums and public spaces in the species of amphibians in the UK.
idea of art & science, a single entity UK, across Europe and all over the These projects, along with the
and a unique field in its own right, world. This allows the message of other projects and commissions
needs to be promoted to a wider Arts Catalyst, the ability of art and the Arts Catalyst has organised
audience. science to work together to impact or produced, are intended to be
society, to reach the widest range provocative, playful and risk-taking,
Founded in 1993, Arts Catalyst of people possible. with the aim of sparking a wider
is a London based organisation interest in the topic explored and
but collaborates with artists and A range of different projects initiating a wider public discourse.
scientists from all over the world. analysing different intersections
Its goal is to create a dialogue with of art and technology have been By working with international artists
the contemporary arts and to look undertaken by Arts Catalyst. The who focus on different elements of
at the relationship between science “Space Culture Symposium”, for research and technology and who
and everyday society. This is example, examined the intersection explore them through different
achieved through the organisation of space science, technology and media, Arts Catalyst is able to foster
an extremely diverse network.
SPOTLIGHT ON THE ORGANISATION Programmes and exhibitions
Name Arts Catalyst organised by Arts Catalyst work to
Country United Kingdom foster not only the understanding
Established 1993 of art & science as force in society
Specialisation Fostering understanding and cooperation between art and science but also cultural understanding
Website http://www.artscatalyst.org/ across borders.
The gallery programme comprises of contemporary art with critical the Ars Electronica festival in Linz,
exhibitions, performances concerts and theoretical lectures by artists, one of the most important festivals
and lectures. The exhibitions are experts and scientists from of media art in the world. We will
largely participatory installations particular specialised fields. present Slovenian intermedia art
or responsive environments in in relation to the international
which the visitor is a part of the In the 12 years since its inception, artistic scene, with emphasis on the
artistic process. Responsiveness, Kapelica Gallery under the leadership exploration of changes injected into
interactivity and indirect of Jurij Krpan has managed to form society by science, technology and
responsibility are concepts which a distinct and influential production novelty which drive contemporary
visitors are faced with on a regular platform which was even entrusted society.
basis. In performances the artists with several projects of national
address the public as directly importance. In 2003 we carried out Through active cooperation with
as possible, transforming the the Slovenian presentation at the institutions that are involved in a
visitors through participation into national pavilion of the 50th Venice similar enterprise (networking),
eyewitnesses. These live events Biennale, in 2006 we realised the 5th ongoing activities to establish
are typically devoid of the stage Triennial of Contemporary Slovene connections between art and
logic that characterises traditional Art U3 at the Ljubljana Gallery science and art and the economy,
performing arts; instead the of Modern and Contemporary as well as efforts in cultural
audience is instructed into the event Art, and in 2007 we launched the policy, Kapelica strives to position
with a visual language that excludes conceptual gallery Cosinus, which contemporary investigative art
the spoken word. Visual intelligence showcases Slovene artists at the among activities that crucially
is also stimulated by sound and European Commission building in co-shape the values of modern
music projects where forms of Brussels. In the next three years we society – a part of society which
sonority may be experienced at the will tour major European galleries sees beyond purely commercial
level of individual objects, texture, with the group exhibition Ecology interests and is historically
construction or soundscape. We of a Techno Mind, which will be interested in contributing to the
nurture a better understanding launched in September 2008 at civilisation of different cultures.,
LJU COSINUS BRX Gallery thereby promoting the field of exhibition on the Makrolab project
art & science. Since the opening by Projekt Atol Institute. Makrolab
In September 2006 the LJU project Umbot Noordung by Dunja is an ongoing mobile laboratory
COSINUS BRX Gallery was set up Zupančič and Dragan Živadinov, set-up for open and integral
on the initiative of the Slovenian the programme has featured research and the common work
Ministry of Foreign Affairs. Located Modux 2004–2006 by the BridA Art of artists, scientists and tactical
in the European Commission Collective, Recycling Strategies by media workers in the fields of
(Brussels), the programme is run by Sašo Sedlaček and from October telecommunications, migrations
the Kapelica Gallery. Its goal is to 2007 to February 2008, Situational research, weather and climate.
feature artworks based on topical Awareness by Marko Peljhan. In
issues in science and technology, addition, the gallery presented an
Venice, June to November 2003 – picture taken by the Quickbird satellite in July, 2003
© Markolab markllex Campalto Operations, Venice Biennale, Campalto Island,
Some conclusions
Where are we after having looked and read through this publication: in a visual art gallery? In an
artistic laboratory? Lost in space? In the Antarctica, wondering what is going to happen to the
human race and hoping that the cross-fertilisation between art & science will save us?
From this publication we have On one thing there seems to be First it seems that this new
seen that artists no longer only use consensus and this is confirmed discipline – whether you call it
their paintbrushes but are making by the Leonardo Education Forum: ‘third culture’ or not – is a discipline
full use of the new materials further research is necessary to worth analysing further. Some
and technology available in the explore the boundaries between more academic analyses on the
beginning of this 21st century: art–science and/or science–art. history, the current state of the
new materials, recycling methods, art and best practices should help
electronics, cybernetics, software, Some are calling for more study understanding the potential of the
telecommunications, information into the interface between art and cross-fertilisation between art and
systems and so on. And it is not science to discover new applications science. A roadmap to stimulate
just a question of equipment – and argue that there should be more development of art & science
the actual mode of presenting room for experimenting on the would be a useful tool.
art has altered, with performance interaction which in turn can lead
art, for example, interacting with to further and other applications. Secondly, the idea of using art
and involving the audience. This Others are calling on the need to to communicate on science and
too has meant changes in the use more the mix of art and science technological progress and the
way that artists operate; many to create public awareness. role it can play in creating public
now work with scientists on awareness and communicating
interdisciplinary projects and in From the above, some conclusions need to be considered more. As
joint art–science spaces. can be drawn. the articles already demonstrated,
their work can be used to tackle Thirdly, it seems that a new type publication Art & science: creative
topical themes – climate change, of researcher/scientist is being fusion suggests, art & science can
poverty, waste management or born called artistic researcher help to bridge cultures; in particular
genetic modification. The project who is involved in the applications the example of the Western Balkan
“Communication outreach in of art & science and who needs, Countries has been highlighted.
nanotechnology”, funded by in order to pursue the thinking
European Commission, is a solid and the applications, to acquire Finally, why not consolidate and
step in the right direction. By looking more knowledge about science expand on the knowledge on art
at how best to communicate about and technology. Dr Roger Malina, & science by creating a platform
nanotechnology, it concluded that Chairman of the Leonardo enabling and facilitating artists
art was well suited to the task of organisation suggests a PhD-like and scientists and policy-makers to
catching people’s attention. But training programme. Could next to meet and exchange ideas, means
more needs to be done. the well-known Marie Curie grants and knowledge? Indeed, to develop
under the EC research Framework this field further, there needs to be a
In pursuit of the successful project, Programme, grants be considered place where the different teams can
it seems that doing something for the “New Leonardos”? meet. Artists and scientists do not
similar to create awareness on work in isolation. A major drive for
climate change is the next topical Fourthly, the idea of facilitating the coordination and information and
issue in point. We will all be affected integration of the Western Balkan exchange of data and knowledge
by the results of climate change. It is Countries through intercultural would help establish a cutting-edge
one of the greatest environmental, dialogue and “cultural” in the ‘third culture’ that combines the
social and economic threats facing broad sense – i.e. stretching it to work of artists and scientists. And
the planet. How therefore could art & science – needs also to be of course, such platform should be
art & science be used to boost further examined as a means to open to the world, as we have seen
the public’s awareness of climate provide better understanding and that this creative fusion is already
change? In this, artists have an acceptance of a new region with shaping in different corners of
important role to play. EU perspective. As the title of this Europe and the world.
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This publication looks at art & science – an autonomous
field uniting art and science which are typically thought
to belong to two different worlds. However, these two
domains have strong historical links, and if analysed in
their totality, date back to the very beginning of human
creativity, fuelled by curiosity and ingenuity. Today
more and more artists are drawing inspiration from
science and using the latest technology and research in
their art, while scientists and researchers are realising
the artistic elements of their work and finding ways to
use art to communicate better with their stakeholders.
Both striving to materialise the immaterial, art and
science are constantly in motion and together they can
lead to what is labelled the ‘third culture’.