Art and design practices in collaboration with science and engineering produce new kinds of knowledge objects in the form of artistically driven events, experiments, and interventions that can inventively engage not only peers but also audiences outside academia around critical social-cultural issues (e.g. the political and environmental implications of climate transformation or the increased reliance on “intelligent” machine systems). However, there are still epistemological, ontological, aesthetic, and ethical tensions concerning the role and production of artistic objects within a natural, social and human-scientific research context. For example, the tension implicating the distance (or a lack thereof) between making and reflexivity; the tension between discursive-critique of techno-scientific “imbroglios” (e.g. AI, Climate Transformation, the More-than-Human, etc) and the production of non-discursive objects that address these issues; and the “transfer” of knowledge to abstracted and generalized non-academic audiences or publics versus the “making public” of such knowledge with specific and active communities.


 

While these tensions point to different modes of “social negotiation, communication and distribution” (Rheinberger, 2019) of knowledge, what’s between artistic and scientific methods? How do artist-researchers account for, examine, and evaluate the role of interdisciplinary artistic experiments and experiences beyond subjectivity and individual experience? What frameworks can help to identify and understand what works and what fails within interdisciplinary processes? And through what modes can this be engaged with and responded to by publics?

Participants:
Brice Ammar-Khodja, Edwige Armand, Sofian Audry, Marc-André Cossette, Frédérick Garcia, Floriand Grond, David Howse, Rilla Khaled, Shauna Janssen, Maurice Jones, Louis-Claude Paquin, Camille Prunet, Miranda Smitheram, Gisèle Trudel, Jean-Ambroise Vesac

Further information:
https://hexagram.ca/en/rencontres-interdisciplinaires-2024/