A new five year study into the Transdisciplinary process:
The Entanglement of Arts and Sciences
On the Transaction Costs of Transdisciplinary Research Settings
Since the 1970s, there has been a growing interest in the collaboration between artists and scientists, which has been fostered by the field of art and technology (see e.g. Harris 1999; Wilson 2003). One of the pioneer journals dedicated to this field is ‘Leonardo’ (MIT Press), which still today encourages a discourse between practitioners in art, science and technology. Programs such as Artist in Labs have been founded to bring artists and scientific laboratories together, in order to artistically reflect on the implications of scientific research on society, as well as to make artistic innovation potential useable for the generating of scientific knowledge. [3] Likewise, publications that examine the relation between scientific research processes and artistic work processes in diverse ways include Laboratorium (Obrist/Vanderlinden 2001), Bridge the Gap (Obrist/Akiko 2002), Art + Science Now (Wilson 2010) and Kunstforschung als ästhetische Wissenschaft (Tröndle/Warmers 2011), to name only a few. In the last few years, also under the heading ‘Artistic Research’, new modes of interaction and cooperation between art and science have been tested (see e.g. Bippus 2009; Rey/Schöbi 2009; Caduff et al. 2010; Borgdorff 2011 provides an overview; a historical perspective is provided by Böhme 2011). In addition to the further development of a research-based art practice, this has involved transferring different approaches from the domain of creativity and design research to scientific research (Michel 2007; Bühlmann/Wiedmer 2009; Mareis 2011).
Key questions associated with all of the aforementioned projects and publications are:
How can artistic and scientific pursuits be combined successfully?
What is the additional value of such a procedure?
What difficulties does one thereby encounter?
See:http://www.researchcatalogue.net/view/12219/12220
for the full article
The Entanglement of Arts and Sciences
On the Transaction Costs of Transdisciplinary Research Settings
Since the 1970s, there has been a growing interest in the collaboration between artists and scientists, which has been fostered by the field of art and technology (see e.g. Harris 1999; Wilson 2003). One of the pioneer journals dedicated to this field is ‘Leonardo’ (MIT Press), which still today encourages a discourse between practitioners in art, science and technology. Programs such as Artist in Labs have been founded to bring artists and scientific laboratories together, in order to artistically reflect on the implications of scientific research on society, as well as to make artistic innovation potential useable for the generating of scientific knowledge. [3] Likewise, publications that examine the relation between scientific research processes and artistic work processes in diverse ways include Laboratorium (Obrist/Vanderlinden 2001), Bridge the Gap (Obrist/Akiko 2002), Art + Science Now (Wilson 2010) and Kunstforschung als ästhetische Wissenschaft (Tröndle/Warmers 2011), to name only a few. In the last few years, also under the heading ‘Artistic Research’, new modes of interaction and cooperation between art and science have been tested (see e.g. Bippus 2009; Rey/Schöbi 2009; Caduff et al. 2010; Borgdorff 2011 provides an overview; a historical perspective is provided by Böhme 2011). In addition to the further development of a research-based art practice, this has involved transferring different approaches from the domain of creativity and design research to scientific research (Michel 2007; Bühlmann/Wiedmer 2009; Mareis 2011).
Key questions associated with all of the aforementioned projects and publications are:
How can artistic and scientific pursuits be combined successfully?
What is the additional value of such a procedure?
What difficulties does one thereby encounter?
See:http://www.researchcatalogue.net/view/12219/12220
for the full article
