Plastik, Art & Science scientific journal
This is the launch of Plastik new website, a scientific journal I'm proud to be the head of publishing. This journal brings together and confronts the experiences of artists who enrich some of the most important current scientific debates from physics quantum theory and general relativity dilemma, ecology, sustainable development, to the nanotechnologies environmental, health and safety issues. To what extent do the artists contribute to the modification of our perceptions and knowledge? What impact can they have on the public awareness ? What attitudes do they develop in front of the new challenges thrown by the scientists? Here are some of the questions raised by Plastik journal.
Here is a selection of articles to discover :
In an interdisciplinary setting, participants from the fine arts, physics, design, biology, culinary arts and mathematics met to explore a two-fold project involving nano and haptics. Using methods that interlace macro- and nano-scale phenomena and technologies, we were able to develop a physical, embodied relationship to a world that is far beyond the direct sensation of touch and human interaction. During this three-year project, a core team of participants developed the following experimental approaches and methods: Aesthetic labs, Surrealist games, Nanofabrication, Infectious formgiving, Process video documentation and Performative staging. With access to nanofabrication laboratories, the team explored form using deposition and etching tools on the tip of a strand of hair as a physical, tangible point of departure. Creating tangible relationships with nano phenomena and creating token imagery makes these invisible parts of our world more accessible and workable on a wider and more visionary scale. Given the strict protocol in the NanoFabrication Center and the general principle of working flat and clean in such environments, the methods applied by the NanoForm project the haptic approach, the use of dirty human material in a sterile environment and above all the open-ended manner of searching and acting uncovered new territory and gave this project an extraordinary position in the nano research community.
“In art, and in painting as in music, it is not a matter of reproducing or inventing forms, but of capturing forces. For this reason no art is figurative. Paul Klee’s famous formula – ‘Not to render the visible, but to render visible’ – means nothing else. The task of painting is defined as the attempt to render visible forces that are not themselves visible.” G. Deleuze
Since 2003, the Cape Farewell project has led eight expeditions to the High Arctic aboard the schooner Noorderlicht. Over 60 artists and 18 scientists have witnessed and explored the reality of climate change and how it is affecting this wild and fragile ecosystem. The “creatives” have produced numerous artworks, novels, music and films with public facing works that have engaged the public worldwide, creating a new climate based language that brings the often-abstract notions of climate change into focus on a human scale. Drawing on the action-research programme of expeditions and commissions developed by this interdisciplinary arts organization Cape Farewell, this paper clarifies through artworks, the essential role of the cultural voice and it’s importance in motivating public action to mediate the dangers of climate change. We argue that a real cultural shift of values, beliefs, economies and ambition is required if we are all to avoid the dangerous consequences of global warming. The Cape Farewell project demands that we use our creative efforts towards achieving transformative action and accept the responsibility of the human role in this anthropocene age, a symbiotic partnership with natural forces.
The circumpolar Arctic cultural, ecological, geophysical, geopolitical and socio-economic Zones are recognized as one of the most dynamic components of planetary systems that are undergoing extreme transformation in a multitude of interconnected domains. The cultures that inhabit these Zones form an integral part of these transformative processes through constant adaptation that is integral to their survival and thriving. One of the International Polar Year (IPY 2007/2009) projects that later formed the basis of the Arctic Perspective Initiative1 (API) developments was the Interpolar Transnational Art Science Constellation2 (I-TASC, IPY 419), which was based on principles of participatory and open cultural, artistic, scientific, tactical media and technological exchanges on an interpolar (North/South) basis. The experiences in developing and deploying open technology systems, from community operated FM radio setups to long distance weather sensor networks in Antarctica and community discussions and consultations about autonomous communications and mobile habitation systems in Nunavut during the IPY, formed a solid basis for the establishment of the Arctic Perspective Initiative, an artist run long term program of engagement with the northern circumpolar cultural and natural ecosystems.
Since its 2008 inception, Laboratoria Art & Science Space has combined the trajectories of science and art through the initiation of joint projects for artists and scientists. The expedition organized by Cape Farewell in 2010 sparked our long-running interest in the Arctic, which has become a significant aspect of Laboratoria’s research.