CONFERENCE' 21
Exploring the Unconventional: Ways to Address the Intersections of Art, Science, and Technology
The field of art-science and technological art is increasingly hybrid. Artworks and art experiments in these fields are based on diverse expertise and may involve a variety of technological solutions. Some of the artworks are based on long-term research and might result in elaborating new technological solutions, others act as an unconventional method for exploring a human’s place in the world, social environment, nature, or their relationship. A work of technological art may combine material and non-material objects and systems, can be valued as a result (art object), or practice, the very act of creating a situation for research. Also, such practices might be critically considered in the context of institutional cultural politics.
The aim of the conference is to give insight into a variety of methodological approaches to the study of interdisciplinary art experiments from different perspectives (such as sociology, philosophy, art history, etc.). What can we find by examining all these interdisciplinary experiments? What instruments and tools are the most suitable for exploring them? Сould these experiments be studied through the experience of the viewer interacting with such works-systems, through the ideas that they embody, or effects that they create? These are the questions that are explored in the course of the conference.
The aim of the conference is to give insight into a variety of methodological approaches to the study of interdisciplinary art experiments from different perspectives (such as sociology, philosophy, art history, etc.). What can we find by examining all these interdisciplinary experiments? What instruments and tools are the most suitable for exploring them? Сould these experiments be studied through the experience of the viewer interacting with such works-systems, through the ideas that they embody, or effects that they create? These are the questions that are explored in the course of the conference.
Due to technical reasons, the talk given by Lyudmila Voropai is presented in the text format:
01:18 Vladlena Gromova, the Open Database project of Interdisciplinary Art In Russia (‘MIR’), Art History department, European university at St. Petersburg (opening of the conference).
01:45 The Open Database ‘MIR’ project.
05:33 Dr. Nora S. Vaage, Nord University, Norway.
When science and art worlds meet: reflections from a hybrid theorist’s perspective.
36:44 Dr. Claudia Schnugg, independent researcher and curator.
The process and the outcome: Social scientific methods to understand artscience projects.
01:06:50 Dr. Lioudmila Voropai, University for the Arts and Design Karlsruhe, Germany.
The Discourse on Interaction of Art and Science: Historical and Institutional Perspective.
*Due to technical reasons, the talk given by Lioudmila Voropai is presented in text format. The paper is available on our website: miropendatabase.org
01:07:12 Q&A session.
01:07:50 Q (to Lioudmila Voropai): Do you mean that the borderline between art and science is dissolving?
01:08:17 A (Lioudmila Voropai)
01:10:18 Q (to Claudia Shnugg): Now, attention is focused on the connection of disciplines, how do you see the future of art science, when the problem of boundaries will cease to be relevant?
01:10:40 A (Claudia Shnugg)
01:12:06 A (Nora S. Vaage)
01:45 The Open Database ‘MIR’ project.
05:33 Dr. Nora S. Vaage, Nord University, Norway.
When science and art worlds meet: reflections from a hybrid theorist’s perspective.
36:44 Dr. Claudia Schnugg, independent researcher and curator.
The process and the outcome: Social scientific methods to understand artscience projects.
01:06:50 Dr. Lioudmila Voropai, University for the Arts and Design Karlsruhe, Germany.
The Discourse on Interaction of Art and Science: Historical and Institutional Perspective.
*Due to technical reasons, the talk given by Lioudmila Voropai is presented in text format. The paper is available on our website: miropendatabase.org
01:07:12 Q&A session.
01:07:50 Q (to Lioudmila Voropai): Do you mean that the borderline between art and science is dissolving?
01:08:17 A (Lioudmila Voropai)
01:10:18 Q (to Claudia Shnugg): Now, attention is focused on the connection of disciplines, how do you see the future of art science, when the problem of boundaries will cease to be relevant?
01:10:40 A (Claudia Shnugg)
01:12:06 A (Nora S. Vaage)
01:14:06 A (Claudia Shnugg)
01:15:18 A (Lioudmila Voropai)
01:16:28 A (Claudia Shnugg)
01:18:45 A (Nora S. Vaage)
01:19:34 Q (to all): In the union of art and science, does art remain art? To what extent is the function and understanding of art transformed in relationships in science?
01:19:56 Q (to Claudia Shnugg): In your speech, you talked about the impact of art on scientific and technological developments, can you formulate the impact on art?
01:20:16 A (Nora S. Vaage)
01.22.50 A (Claudia Shnugg)
01:25:52 A (Claudia Shnugg)
01:27:19 Q (to Nora S. Vaage): One of the complaints about artscience practices is the use of hi-tech equipment for dubious purposes, for trial and error. What is your opinion on this?
01:27:40 A (Nora S. Vaage)
01:28:06 A (Nora S. Vaage): On the ethics of bioart projects
01:31:11 Q (to all): Should the results of the practice of artscience be separated from the institutional system of science and art?
01:31:58 A (Lioudmila Voropai)
01:35:51 A (Nora S. Vaage)
01:37:54 A (Claudia Shnugg)
01:38:48 A (Lioudmila Voropai)
01:15:18 A (Lioudmila Voropai)
01:16:28 A (Claudia Shnugg)
01:18:45 A (Nora S. Vaage)
01:19:34 Q (to all): In the union of art and science, does art remain art? To what extent is the function and understanding of art transformed in relationships in science?
01:19:56 Q (to Claudia Shnugg): In your speech, you talked about the impact of art on scientific and technological developments, can you formulate the impact on art?
01:20:16 A (Nora S. Vaage)
01.22.50 A (Claudia Shnugg)
01:25:52 A (Claudia Shnugg)
01:27:19 Q (to Nora S. Vaage): One of the complaints about artscience practices is the use of hi-tech equipment for dubious purposes, for trial and error. What is your opinion on this?
01:27:40 A (Nora S. Vaage)
01:28:06 A (Nora S. Vaage): On the ethics of bioart projects
01:31:11 Q (to all): Should the results of the practice of artscience be separated from the institutional system of science and art?
01:31:58 A (Lioudmila Voropai)
01:35:51 A (Nora S. Vaage)
01:37:54 A (Claudia Shnugg)
01:38:48 A (Lioudmila Voropai)
00:49 Dr. Ksenia Fedorova, Leiden University, the Netherlands.
Activating Meaning in Artistic Research.
29:23 Dr. Galina Kondratieva, EDC Paris Business School, France.
Essential Issues in Use of AI in Creation of Artworks.
55:37 Dr. Kerstin Borchhardt, Siegen University, Germany.
Between Science and Fiction: Experimental Ecologies in Contemporary Media Art.
01:15:25 Q&A session.
01:15:50 Q (to Ksenia Fedorova): Can we say that metaanalysis is a continuation of artistic practice? Is a critical approach possible in methods that are conditionally built on verbs?
01:16:19 A (Ksenia Fedorova)
01:18:50 Q (to Galina Kondratieva): You mentioned that it works both ways, meaning that both technology can inspire art and art can inspire technology. Do you know any particular examples of such cases when art inspired technology or something maybe in business or marketing instruments etc.?
01:19:34 A (Galina Kondratieva)
01:21:05 A (Ksenia Fedorova)
Activating Meaning in Artistic Research.
29:23 Dr. Galina Kondratieva, EDC Paris Business School, France.
Essential Issues in Use of AI in Creation of Artworks.
55:37 Dr. Kerstin Borchhardt, Siegen University, Germany.
Between Science and Fiction: Experimental Ecologies in Contemporary Media Art.
01:15:25 Q&A session.
01:15:50 Q (to Ksenia Fedorova): Can we say that metaanalysis is a continuation of artistic practice? Is a critical approach possible in methods that are conditionally built on verbs?
01:16:19 A (Ksenia Fedorova)
01:18:50 Q (to Galina Kondratieva): You mentioned that it works both ways, meaning that both technology can inspire art and art can inspire technology. Do you know any particular examples of such cases when art inspired technology or something maybe in business or marketing instruments etc.?
01:19:34 A (Galina Kondratieva)
01:21:05 A (Ksenia Fedorova)
01:22:20 Q1 (to Kerstin Borchhardt): Is the term ‘experimental ecologies’ an established one, was it used by some other theorists?
01:22:43 Q2 (to Kerstin Borchhardt): What do you think about the danger of eco-fiction and current eco-political discourse becoming a new means of oppression by a political regime or even tending to turn into dogmatic fundamentalism?
01:23:18 A1 (Kerstin Borchhardt)
01:23:48 A2 (Kerstin Borchhardt)
01:27:53 Q&Comm. (from Ksenia Fedorova to Galina Kondratieva): What kind of artists did you talk to that work with AI and which way do they do that – critically or aestheticizingly?
01:28:40 A (Galina Kondratieva)
01:32:17 A (Ksenia Fedorova)
01:33:03 A (Galina Kondratieva on the difference in terminology in different languages).
01:34:22 Q (from Lioudmila Voropai to Galina Kondratieva): What kind of generation of artists and engineers did you have as interview partners?
01:34:47 A (Lioudmila Voropai)
01:36:42 A (Galina Kondratieva)
01:38:40 A (Lioudmila Voropai)
01:22:43 Q2 (to Kerstin Borchhardt): What do you think about the danger of eco-fiction and current eco-political discourse becoming a new means of oppression by a political regime or even tending to turn into dogmatic fundamentalism?
01:23:18 A1 (Kerstin Borchhardt)
01:23:48 A2 (Kerstin Borchhardt)
01:27:53 Q&Comm. (from Ksenia Fedorova to Galina Kondratieva): What kind of artists did you talk to that work with AI and which way do they do that – critically or aestheticizingly?
01:28:40 A (Galina Kondratieva)
01:32:17 A (Ksenia Fedorova)
01:33:03 A (Galina Kondratieva on the difference in terminology in different languages).
01:34:22 Q (from Lioudmila Voropai to Galina Kondratieva): What kind of generation of artists and engineers did you have as interview partners?
01:34:47 A (Lioudmila Voropai)
01:36:42 A (Galina Kondratieva)
01:38:40 A (Lioudmila Voropai)
00:39 Dr. Samuel Sadian, Institute for Social and Economic Research at Rhodes University, South Africa. Art and unwitting agency: ‘Pig 05049’ and ‘Anatomy of an AI system’ as maps of the middle-class metabolism.
25:42 Dr. Jose-Carlos Mariategui, independent researcher and curator; Elisa Arca, York University. Double-bind Information Systems in the Work of Teresa Burga.
(25:42 Elisa Arca; 36:49 Jose-Carlos Mariategui).
50:06 Dr. Liubov Iakovleva, Center for Media Philosophy, Saint-Petersburg State University.
The problem of uncertainty in architectural design: a media philosophical approach.
01:13:10 Q&A session.
01:13:33 Q (to Samuel Sadian): Alfred Gell understands art as a system of actions that blurs the line between art and any other object of material culture. Is the status of art important in the projects you are considering?
01:14:06 A (Samuel Sadian)
01:17:32 Q (to Jose-Carlos Mariategui and Elisa Arca): Can we determine the border between a symbolic meaning of the data and their literal representation in the works of Teresa Burga?
01:17:59 A (Jose-Carlos Mariategui)
01:19:29 Q (to Jose-Carlos Mariategui and Elisa Arca): Do you think that Burga’s usage of aesthetic features (textures, spatial placement, metaphorical references) could be interpreted as critical interventions into the generalising logic of information-based systems?
When individual identities disappear, or rather are replaced by ‘neutral’ numbers, what can still remind us of the uniqueness of the lives represented by those numbers? Is this tension present in her work?
25:42 Dr. Jose-Carlos Mariategui, independent researcher and curator; Elisa Arca, York University. Double-bind Information Systems in the Work of Teresa Burga.
(25:42 Elisa Arca; 36:49 Jose-Carlos Mariategui).
50:06 Dr. Liubov Iakovleva, Center for Media Philosophy, Saint-Petersburg State University.
The problem of uncertainty in architectural design: a media philosophical approach.
01:13:10 Q&A session.
01:13:33 Q (to Samuel Sadian): Alfred Gell understands art as a system of actions that blurs the line between art and any other object of material culture. Is the status of art important in the projects you are considering?
01:14:06 A (Samuel Sadian)
01:17:32 Q (to Jose-Carlos Mariategui and Elisa Arca): Can we determine the border between a symbolic meaning of the data and their literal representation in the works of Teresa Burga?
01:17:59 A (Jose-Carlos Mariategui)
01:19:29 Q (to Jose-Carlos Mariategui and Elisa Arca): Do you think that Burga’s usage of aesthetic features (textures, spatial placement, metaphorical references) could be interpreted as critical interventions into the generalising logic of information-based systems?
When individual identities disappear, or rather are replaced by ‘neutral’ numbers, what can still remind us of the uniqueness of the lives represented by those numbers? Is this tension present in her work?
01:20:06 A (Elisa Arca)
01:23:22 Q (to Jose-Carlos Mariategui and Elisa Arca): Was the appropriation of information-gathering processes and methods an act of liberation for Teresa Burga?
01:23:43 A (Elisa Arca)
01:24:04 A (Jose-Carlos Mariategui)
01:26:56 Q (to Jose-Carlos Mariategui and Elisa Arca): Were the calculations made by Teresa Burga for her self portrait conducted as a typical procedure in the state institutions, like identity recognition, or was it just artistic research?
01:27:16 A (Elisa Arca)
01:28:13 Q (from Lioudmila Voropai to Jose-Carlos Mariategui and Elisa Arca):
Nowadays if you deal with a typical art historian classification or art historian topology, isn’t it a kind of common narrative to place Teresa Burga in the context of conceptual art and something that Benjamin Buchloh called ‘aesthetics of administration’? How would you deal with this kind of possible conceptualisation of her work?
01:28:53 A (Jose-Carlos Mariategui)
01:31:14 Q (to Liubov Iakovleva): Can we talk about the autonomy of technology if the tasks still depend on the author, or do we consider only form and aesthetics as an area belonging to the author?
01:31:37 A (Liubov Iakovleva)
01:34:02 Q (from Ksenia Fedorova to the conference team): Were your expectations met?
01:23:23 A (Vladlena Gromova)
01:36:35 Ariane Koek
01:23:22 Q (to Jose-Carlos Mariategui and Elisa Arca): Was the appropriation of information-gathering processes and methods an act of liberation for Teresa Burga?
01:23:43 A (Elisa Arca)
01:24:04 A (Jose-Carlos Mariategui)
01:26:56 Q (to Jose-Carlos Mariategui and Elisa Arca): Were the calculations made by Teresa Burga for her self portrait conducted as a typical procedure in the state institutions, like identity recognition, or was it just artistic research?
01:27:16 A (Elisa Arca)
01:28:13 Q (from Lioudmila Voropai to Jose-Carlos Mariategui and Elisa Arca):
Nowadays if you deal with a typical art historian classification or art historian topology, isn’t it a kind of common narrative to place Teresa Burga in the context of conceptual art and something that Benjamin Buchloh called ‘aesthetics of administration’? How would you deal with this kind of possible conceptualisation of her work?
01:28:53 A (Jose-Carlos Mariategui)
01:31:14 Q (to Liubov Iakovleva): Can we talk about the autonomy of technology if the tasks still depend on the author, or do we consider only form and aesthetics as an area belonging to the author?
01:31:37 A (Liubov Iakovleva)
01:34:02 Q (from Ksenia Fedorova to the conference team): Were your expectations met?
01:23:23 A (Vladlena Gromova)
01:36:35 Ariane Koek
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