art&science - creative fusion

8/14/2019 Art&Science - Creative Fusion

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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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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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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


36/44

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


37/44

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


38/44

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.


39/44

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


40/44

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


41/44

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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art&science - creative fusion

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