The notion of ‘artistic research’ is a buzzword in contemporary cultural policy, scientific and artistic discourses. This text is not trying to add another note to the polyphony of attempts to define the concept. Rather, it aims to trace and analyse some possible backgrounds of emergence, suggesting that the myriad of definitions and descriptions of artistic research is rooted in the most varying and to a point contradictory motivations.
Many climate scientists find themselves confronted with the challenge of purportedly “knowing better” — while this is a valid claim with respect to a small segment of reality, namely their narrow field of expertise, the public expectation often is that they know better about the “world’s problems”, and what to do about it, sometimes even with the rhetoric of “saving” the world. Artists may help in this situation by bringing forth different viewpoints, challenging hidden assumptions and suggesting surprising links; however, more often, the arts seem to be considered as a useful supporter in
To observe art and science in interaction offered a great opportunity for me as cultural anthropologist to learn about the production of climate knowledge. Like ethnographers, artists entered the world of science, observed climate scientists and participated in their daily routines. They dissected elements of the scientific process and focused on science as a social practice. For scientists and artists, a process of “self-identification via the other” [Kramer, 1993] was set into motion. The artwork reflects this process by “mimicking” scientific procedures and by linking human sentiment and
“I hope to offer a unique artistic perspective on a topic which is hidden from our everyday view” States my application. Will I be able to fulfil this task? Here is a short summary of my experiences as a visiting artist researcher
The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.
The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.
This set of comments reports experiences from a recent “science-meets-arts”-project in Germany, in which students from the University of Fine Arts in Hamburg (HFBK) shared day-to-day life in climate research groups for several months. The project was envisioned as a process of mutual inspiration with the aim of producing a joint exhibition and symposium at the end. This paper introduces the project as well as the subsequent commentaries and also presents some of my own observations.
This case study describes the development of a climate change information system for New York State, one of the physically largest states in the United States. Agriculture (including dairy production and vineyards) and water-related tourism are large parts of the state economy, and both are expected to be affected dramatically by climate change. The highly politicized nature of the climate change debate in America makes the delivery of science-based information even more urgent and challenging. The United States does not have top-down science communication policies, as many countries do; this
Climate change is a multi-faceted issue. It relies on deep scientific bases, but merges with politics, economics, ethics and culture in a complex and strongly nonlinear social debate. This interview focuses on the relationships between public communication on climate change (with emphasis on the so-called ‘new media’) and the decision making processes. It argues that more productive and sustainable forms of communication on climate change are needed due to problems related with validation of information in the Web.
This poster was presented at the 2016 Advancing Informal STEM Learning (AISL) PI Meeting held in Bethesda, MD on February 29-March 2. Forest Science Dialogues is a pathways project to develop and
test mechanisms for dialogue-based engagement between ecosystem scientists and local citizens in the rural Northeast.
In January 2006, my wife Susannah Sayler and I set out to photograph landscapes around the world that were being transformed by global warming. We called our work The Canary Project. From the beginning, as now, we had both activist aims and artistic ambitions. These two types of motivation overlap in places and in other places feel completely distinct. In general, we feel as though are carrying forward a torch that science cannot carry any further. Following are some thoughts on our role as activists and as artists and as collaborators with the scientific community.
Artists have used the environment as a subject forever and there is a long history of artists whose works affect peoples’ awareness of and perceptions of their natural environments. But only relatively recently have other artists become part of the modern environmental movement and of efforts to educate college students and the population at large about environmental issues. Environmental studies programs need to take advantage of this increased interest on the part of artists, and global warming provides a perfect vehicle.