There’s just a week to go till The Space’s conference and we’re pleased to confirm our speakers for each of the roundtable talks on Day 1 and 2. There’s lots that will be of interest, including:
* A timely debate about how to make online communities safer * In introduction to CreaTech – a £6.75 million investment to develop small, micro- and medium-sized businesses specialising in creative tech like video games and immersive reality – find out how to get involved * Discussions on the role of artists in a digital world * Explorations of digital accessibiliy, community ownership, engagement and empowerment.
Day 1 Digital communities and online harms Wednesday 12 February
Digital accessibility, inclusion and community
Roundtable 1 How can we think differently about how we create digital content and challenge assumptions about what culture looks like? Exploring community ownership, engagement and empowerment through digital.
Zoe Partington – Acting CEO DaDa, Artist and Disability Consultant
Rachel Farrer – Associate Director, Cultural and Community Engagement Innovation Ecosystem, Coventry University
Jo Capper – Collaborative Programme Curator, Grand Union
Reducing online harms, how to make social media and online communities safer
Roundtable 2 In a world of increasingly polarised online spaces, what are the emerging trends and challenges when engaging audiences and building communities online?
Dr Rianna Walcott – Assistant Professor of Communication, University of Maryland
Day 2 The role of artists in a digital world Thursday 13 February
Calling all in the West Midlands!
Day 2 is taking place in person as well as streaming online. If you’d like to join us in person at the STEAMhouse in Birmingham, please register for free below.
As well as joining us for the great roundtables we have lined up, there’ll be a great chance to network in between sessions over lunch. Look forward to seeing you there!
CreaTech, the Digital West Midlands and beyond – Local and Global [CreaTech is an initiative of the UK’s Creative Industries Council]
Roundtable 1 An introduction to CreaTech – a £6.75 million investment to develop small, micro- and medium-sized businesses specialising in creative tech like video games and immersive reality. Creatives and academics from across the Midlands and further afield discuss arising opportunities and what this means for the region and beyond.
Richard Willacy – General Director, Birmingham Opera Company
Tom Rogers – Creative Content Producer, Birmingham Royal Ballet
Lamberto Coccioli – Project lead, CreaTech Frontiers, Professor of Music and Technology at the Royal Birmingham Conservatoire (BCU)
Rachel Davis – Director of Warwick Enterprise, University of Warwick
Platforming artists and storytellers – are artists and storyteller missing from modern discourse?
Roundtable 2 Artists and storytellers have historically played pivotal roles in shaping societal narratives and fostering cultural discourse. However, is their presence in mainstream discussions diminishing?
Javaad Alipoor – Artistic Director, Javaad Alipoor Company
If you got to The Space’s Digital Culture Talks 2025 webpage, you’ll find a few more details. Clicking on the link to register will give you the event time appropriate to your timezone.
Welcome to The Space. We help the arts, culture and heritage sector to engage audiences using digital and broadcast content and platforms.
As an independent not-for-profit organisation, our role is to fund the creation of new digital cultural content and provide free training, mentoring and online resources for organisations, artists and creative practitioners.
We are funded by a range of national and regional agencies, to enable you to build your digital skills, confidence and experience via practical advice and hands-on experience. We can also help you to find ways to make your digital content accessible to new and more diverse audiences.
We also offer a low-cost consultancy service for organisations who want to develop their digital cultural content strategy.
Speculative Meteorology: Weather Channeled Feb 3-7, [2-25] 10-4pm [ET]
opening reception : Feb 5, [2025] 5-7pm [ET] Special Projects Gallery, Goldfarb Centre for the Arts York University [Toronto, Ontario, Canada]
Curated by Aftab Mirzaei (Science and Technology Studies) with Mark-David Hosale (Digital Media) and showcases the work of artists and researchers including, Chris Beaulieu, Kwame Kyei-Boateng, Nava Waxman, Mark-David Hosale, Hiro Kubayashi, Grace Grothaus, Leo Liu, Winnie Luo, Aftab Mirzaei, and Colin Tucker.
DESCRIPTION Speculative Meteorology: Weather Channeled emerges from a series of interdisciplinary experiments conducted by members of the nd:studiolab between 2023 and 2024. This exhibit invites artists and researchers to explore imaginative and multidimensional accounts of atmospheres and climates across past, present, and future. Drawing on Donna Haraway’s concept of SF—speculative fabulation as a mode of attention, a theory of history, and a practice of worlding—the works collectively reimagine our relationship to the weather, engaging it as a site of both knowledge-making and creative practice.
Sponsored by the nD::StudioLab at York University
Environmental Monitoring for Art a workshop as part of the Speculative Meteorology: Weather Channeled interdisciplinary art exhibition, with Grace Grothaus
Feb 7, 2025, 12 -3 PM [ET] ACW 103, The Transmedia Lab York University [Toronto, Ontario, Canada]
In this three-hour workshop, we will fabricate sensors that can detect environmental data using some readily available materials and electronics. We will fabricate sensors that can detect animal footsteps, record raindrops, or measure wind and then learn to read their values using Arduino. The data from these sensors can be used as input for actuators in physical computing projects, or they can be triggers for screen-based animation or music – the options are wide and varied.
Here’s the second exhibition and its associated events, from the January 25, 2025 notice,
Afterglow Exhibition Feb 4-7, [2-25] 10-3pm [ET]
opening reception : Feb 5, [2025] 5-7pm [ET] Gales Gallery, York University [Toronto, Ontario, Canada]
Curated by : Nina Czegledy & Joel Ong, featuring international and local artists Raphael Arar, Nagy Molnar, Laszlo Zsolt Bordos, Jennifer Willet, Joel Ong (with Khaled Eilouti, Zhino Yousefi, Shelby Murchie and Oliver Debski-Tran)
AFTERGLOW [ af-ter-gloh, ahf- ] is an exhibition envisioned around the graphic quality of light, as well as its traces and incandescence both real and metaphorical. The participating artists explore cross-cultural practices via a variety of analog and digital media, relating light to unfolding contemporary considerations in the global Light Art panorama. At the same time, Afterglow references a deep resonance with the past, paying tribute to historical ideas that have illuminated our current understandings of interconnected systems of values and beliefs that underly the complementary artistic practices today.
In the words of pioneering Hungarian artist György Kepes (1906-2001) : “Our human nature is profoundly phototropic”. The exhibition is a reminder of the integral nature of light to human and more-than-human life, but also to the notion of light as a sensory environment within which we remain rooted, transfixed and nourished. The exhibiting artists take up these ideas in various formations, alluding to the physical, metaphorical and ecological implications of light. As an initial exhibition prototype, Afterglow is presented first at the Gales Gallery at York University in Toronto as it grows towards future touring exhibitions and symposia. The exhibition is integrated with a virtual Symposium that features exhibiting artists as well as International artists/theorists in conversation. Please proceed to our Eventbrite page for more details and registration [see below]. – Nina Czegledy, Joel Ong.
Afterglow Symposium Feb 6 [2025] 1-3pm [ET] Symposium Presenters: Andrea Polli, Jennifer Willet, Joel Ong, Karolina Halatek, Marton Orostz, Nina Czegledy and Raphael Arar.
If you’re in Toronto, you’re spoiled for choices. As for the rest of us, the Afterglow Symposium, as a hybrid event, offers an opportunity to hear from the artists.
First, thank you to anyone who’s dropped by to read any of my posts. Second, I didn’t quite catch up on my backlog in what was then the new year (2024) despite my promises. (sigh) I will try to publish my drafts in a more timely fashion but I start this coming year as I did 2024 with a backlog of two to three months. This may be my new normal.
As for now, here’s an overview of FrogHeart’s 2024. The posts that follow are loosely organized under a heading but many of them could fit under other headings as well. After my informal review, there’s some material on foretelling the future as depicted in an exhibition, “Oracles, Omens and Answers,” at the Bodleian Libraries, University of Oxford.
Human enhancement: prosthetics, robotics, and more
Within a year or two of starting this blog I created a tag ‘machine/flesh’ to organize information about a number of converging technologies such as robotics, brain implants, and prosthetics that could alter our concepts of what it means to be human. The larger category of human enhancement functions in much the same way also allowing a greater range of topics to be covered.
Here are some of the 2024 human enhancement and/or machine/flesh stories on this blog,
As for anyone who’s curious about hydrogels, there’s this from an October 20, 2016 article by D.C.Demetre for ScienceBeta, Note: A link has been removed,
Hydrogels, materials that can absorb and retain large quantities of water, could revolutionise medicine. Our bodies contain up to 60% water, but hydrogels can hold up to 90%.
It is this similarity to human tissue that has led researchers to examine if these materials could be used to improve the treatment of a range of medical conditions including heart disease and cancer.
These days hydrogels can be found in many everyday products, from disposable nappies and soft contact lenses to plant-water crystals. But the history of hydrogels for medical applications started in the 1960s.
Scientists developed artificial materials with the ambitious goal of using them in permanent contact applications , ones that are implanted in the body permanently.
For anyone who wants a more technical explanation, there’s the Hydrogel entry on Wikipedia.
Science education and citizen science
Where science education is concerned I’m seeing some innovative approaches to teaching science, which can include citizen science. As for citizen science (also known as, participatory science) I’ve been noticing heightened interest at all age levels.
It’s been another year where artificial intelligence (AI) has absorbed a lot of energy from nearly everyone. I’m highlighting the more unusual AI stories I’ve stumbled across,
As you can see, I’ve tucked in two tangentially related stories, one which references a neuromorphic computing story ((see my Neuromorphic engineering category or search for ‘memristors’ in the blog search engine for more on brain-like computing topics) and the other is intellectual property. There are many, many more stories on these topics
Art/science (or art/sci or sciart)
It’s a bit of a surprise to see how many art/sci stories were published here this year, although some might be better described as art/tech stories.
There may be more 2024 art/sci stories but the list was getting long. In addition to searching for art/sci on the blog search engine, you may want to try data sonification too.
Moving off planet to outer space
This is not a big interest of mine but there were a few stories,
I expect to be delighted, horrified, thrilled, and left shaking my head by science stories in 2025. Year after year the world of science reveals a world of wonder.
More mundanely, I can state with some confidence that my commentary (mentioned in the future-oriented subsection of my 2023 review and 2024 look forward) on Quantum Potential, a 2023 report from the Council of Canadian Academies, will be published early in this new year as I’ve almost finished writing it.
Some questions are hard to answer and always have been. Does my beloved love me back? Should my country go to war? Who stole my goats?
Questions like these have been asked of diviners around the world throughout history – and still are today. From astrology and tarot to reading entrails, divination comes in a wide variety of forms.
Yet they all address the same human needs. They promise to tame uncertainty, help us make decisions or simply satisfy our desire to understand.
Anthropologists and historians like us study divination because it sheds light on the fears and anxieties of particular cultures, many of which are universal. Our new exhibition at Oxford’s Bodleian Library, Oracles, Omens & Answers, explores these issues by showcasing divination techniques from around the world.
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1. Spider divination
In Cameroon, Mambila spider divination (ŋgam dù) addresses difficult questions to spiders or land crabs that live in holes in the ground.
Asking the spiders a question involves covering their hole with a broken pot and placing a stick, a stone and cards made from leaves around it. The diviner then asks a question in a yes or no format while tapping the enclosure to encourage the spider or crab to emerge. The stick and stone represent yes or no, while the leaf cards, which are specially incised with certain meanings, offer further clarification.
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2. Palmistry
Reading people’s palms (palmistry) is well known as a fairground amusement, but serious forms of this divination technique exist in many cultures. The practice of reading the hands to gather insights into a person’s character and future was used in many ancient cultures across Asia and Europe.
In some traditions, the shape and depth of the lines on the palm are richest in meaning. In others, the size of the hands and fingers are also considered. In some Indian traditions, special marks and symbols appearing on the palm also provide insights.
Palmistry experienced a huge resurgence in 19th-century England and America, just as the science of fingerprints was being developed. If you could identify someone from their fingerprints, it seemed plausible to read their personality from their hands.
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3. Bibliomancy
If you want a quick answer to a difficult question, you could try bibliomancy. Historically, this DIY [do-it-yourself] divining technique was performed with whatever important books were on hand.
Throughout Europe, the works of Homer or Virgil were used. In Iran, it was often the Divan of Hafiz, a collection of Persian poetry. In Christian, Muslim and Jewish traditions, holy texts have often been used, though not without controversy.
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4. Astrology
Astrology exists in almost every culture around the world. As far back as ancient Babylon, astrologers have interpreted the heavens to discover hidden truths and predict the future.
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5. Calendrical divination
Calendars have long been used to divine the future and establish the best times to perform certain activities. In many countries, almanacs still advise auspicious and inauspicious days for tasks ranging from getting a haircut to starting a new business deal.
In Indonesia, Hindu almanacs called pawukon [calendar] explain how different weeks are ruled by different local deities. The characteristics of the deities mean that some weeks are better than others for activities like marriage ceremonies.
6 December 2024 – 27 April 2025 ST Lee Gallery, Weston Library
The Bodleian Libraries’ new exhibition, Oracles, Omens and Answers, will explore the many ways in which people have sought answers in the face of the unknown across time and cultures. From astrology and palm reading to weather and public health forecasting, the exhibition demonstrates the ubiquity of divination practices, and humanity’s universal desire to tame uncertainty, diagnose present problems, and predict future outcomes.
Through plagues, wars and political turmoil, divination, or the practice of seeking knowledge of the future or the unknown, has remained an integral part of society. Historically, royals and politicians would consult with diviners to guide decision-making and incite action. People have continued to seek comfort and guidance through divination in uncertain times — the COVID-19 pandemic saw a rise in apps enabling users to generate astrological charts or read the Yijing [I Ching], alongside a growth in horoscope and tarot communities on social media such as ‘WitchTok’. Many aspects of our lives are now dictated by algorithmic predictions, from e-health platforms to digital advertising. Scientific forecasters as well as doctors, detectives, and therapists have taken over many of the societal roles once held by diviners. Yet the predictions of today’s experts are not immune to criticism, nor can they answer all our questions.
Curated by Dr Michelle Aroney, whose research focuses on early modern science and religion, and Professor David Zeitlyn, an expert in the anthropology of divination, the exhibition will take a historical-anthropological approach to methods of prophecy, prediction and forecasting, covering a broad range of divination methods, including astrology, tarot, necromancy, and spider divination.
Dating back as far as ancient Mesopotamia, the exhibition will show us that the same kinds of questions have been asked of specialist practitioners from around the world throughout history. What is the best treatment for this illness? Does my loved one love me back? When will this pandemic end? Through materials from the archives of the Bodleian Libraries alongside other collections in Oxford, the exhibition demonstrates just how universally human it is to seek answers to difficult questions.
Highlights of the exhibition include: oracle bones from Shang Dynasty China (ca. 1250-1050 BCE); an Egyptian celestial globe dating to around 1318; a 16th-century armillary sphere from Flanders, once used by astrologers to place the planets in the sky in relation to the Zodiac; a nineteenth-century illuminated Javanese almanac; and the autobiography of astrologer Joan Quigley, who worked with Nancy and Ronald Reagan in the White House for seven years. The casebooks of astrologer-physicians in 16th- and 17th-century England also offer rare insights into the questions asked by clients across the social spectrum, about their health, personal lives, and business ventures, and in some cases the actions taken by them in response.
The exhibition also explores divination which involves the interpretation of patterns or clues in natural things, with the idea that natural bodies contain hidden clues that can be decrypted. Some diviners inspect the entrails of sacrificed animals (known as ‘extispicy’), as evidenced by an ancient Mesopotamian cuneiform tablet describing the observation of patterns in the guts of birds. Others use human bodies, with palm readers interpreting characters and fortunes etched in their clients’ hands. A sketch of Oscar Wilde’s palms – which his palm reader believed indicated “a great love of detail…extraordinary brain power and profound scholarship” – shows the revival of palmistry’s popularity in 19th century Britain.
The exhibition will also feature a case study of spider divination practised by the Mambila people of Cameroon and Nigeria, which is the research specialism of curator Professor David Zeitlyn, himself a Ŋgam dù diviner. This process uses burrowing spiders or land crabs to arrange marked leaf cards into a pattern, which is read by the diviner. The display will demonstrate the methods involved in this process and the way in which its results are interpreted by the card readers. African basket divination has also been observed through anthropological research, where diviners receive answers to their questions in the form of the configurations of thirty plus items after they have been tossed in the basket.
Dr Michelle Aroney and Professor David Zeitlyn, co-curators of the exhibition, say:
Every day we confront the limits of our own knowledge when it comes to the enigmas of the past and present and the uncertainties of the future. Across history and around the world, humans have used various techniques that promise to unveil the concealed, disclosing insights that offer answers to private or shared dilemmas and help to make decisions. Whether a diviner uses spiders or tarot cards, what matters is whether the answers they offer are meaningful and helpful to their clients. What is fun or entertainment for one person is deadly serious for another.
Richard Ovenden, Bodley’s [a nickname? Bodleian Libraries were founded by Sir Thomas Bodley] Librarian, said:
People have tried to find ways of predicting the future for as long as we have had recorded history. This exhibition examines and illustrates how across time and culture, people manage the uncertainty of everyday life in their own way. We hope that through the extraordinary exhibits, and the scholarship that brings them together, visitors to the show will appreciate the long history of people seeking answers to life’s biggest questions, and how people have approached it in their own unique way.
The exhibition will be accompanied by the book Divinations, Oracles & Omens, edited by Michelle Aroney and David Zeitlyn, which will be published by Bodleian Library Publishing on 5 December 2024.
Courtesy: Bodleian Libraries, University of Oxford
I’m not sure why the preceding image is used to illustrate the exhibition webpage but I find it quite interesting. Should you be in Oxford, UK and lucky enough to visit the exhibition, there are a few more details on the Oracles, Omens and Answers event webpage, Note: There are 26 Bodleian Libraries at Oxford and the exhibition is being held in the Weston Library,
EXHIBITION
Oracles, Omens and Answers
6 December 2024 – 27 April 2025
ST Lee Gallery, Weston Library
Free admission, no ticket required
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Note: This exhibition includes a large continuous projection of spider divination practice, including images of the spiders in action.
Exhibition tours
Oracles, Omens and Answers exhibition tours are available on selected Wednesdays and Saturdays from 1–1.45pm and are open to all.
While I have a preference for the new and emerging, sometimes, I like to take a look backwards. This October 1, 2024 news item on phys.org explores how rock art links the Indigenous peoples of Central Asia and Canada to each other and how both are bringing the tradition into contemporary art,
A new project is assessing the influence of ancient rock art on the modern art of Indigenous peoples in Central Asia and Canada, revealing its importance to reclaiming cultural identities.
Rock art holds an important place in the cultures of many Indigenous peoples to this day, indicating their shared communal identities and ancient ties to the land on which they live. However, the influence of rock art on current artistic movements is still rarely recognized and poorly understood.
“The contemporary re-use of rock art is a growing phenomenon,” says author of the research, Professor Andrzej Rozwadowski from Adam Mickiewicz University, Poland. “However, to date, very little attention has been paid to how rock art inspires contemporary Indigenous artists, especially in such little known areas as Siberia or Central Asia.”
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An October 3, 2024 article by Conny Waters for AncientPages.com delves further into the topic,
Numerous cultures around the globe are engaged in preserving their artistic legacies. This effort involves safeguarding these cultural treasures from being forgotten and emphasizing their significance to ensure they remain a vital part of their shared heritage.
…
“The contemporary re-use of rock art is a growing phenomenon,” says author of the research. However, to date, very little attention has been paid to how rock art inspires contemporary Indigenous artists, especially in such little known areas as Siberia or Central Asia,” said Professor Andrzej Rozwadowski from Adam Mickiewicz University, Poland.
In his project “Rock Art as a Source of Contemporary Cultural Identity,” Professor Rozwadowski focuses on exploring and understanding the cultural significance of rock art created by Indigenous artists in Central Asia, specifically in regions such as Siberia and Kazakhstan, as well as in Canada.
It is also important to investigate how the work of the artists in these regions, was inspired by rock art.
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… As younger generations forget First Nations traditions, the application of ancient rock art to contemporary artistic expression is essential for the preservation of heritage.
Many Indigenous Canadian artists also consciously link rock art traditions to modern colonial injustice, for example, the residential schools system, acting as decolonizing symbols intended to heal some wounds in Indigenous history. Moreover, the way rock art motifs are incorporated into modern art is strikingly similar across thousands of kilometers.
“The most memorable thing for me was what Canadian artist from the Cree Nation, Jane Ash Poitras said when I met her in Edmonton. When I showed her the work of the Khakass artist Alexander Domozhakov, from southern Siberia, she said: ‘
Isn’t it Norval Morrisseau?!’ (Canada’s most prominent Indigenous artist).”
…
Here’s an example of contemporary art influenced by rock art from Central Asian artist,tAlexander Domozhakov,
Spirit of the Night by Khakas artist Alexander Domozhakov, oil on canvas, 1.6 × 1.1m, 1991 (collection of Olga Akhrimchik). Photograph by Andrzej Rozwadowski; source – Antiquity. [downloaded from https://www.ancientpages.com/2024/10/03/the-indigenous-artists-keeping-ancient-rock-art-traditions-alive-for-future-generations/]
This paper is open access and, as academic papers go, it’s written in an accessible style with a minimum of jargon.
You’ll find the information in the October 1, 2024 news item and Waters’ October 3, 2024 article to be close to identical but the Waters’ article highlights the embedded images more successfully than either the news item or the paper does.
I’m glad to see this follow up to a post (my June 7, 2011 posting) which featured research on using bacteria to benefit art restoration in Spain. Maria Mocerino’s September 30, 2024 article for Interesting Engineering provides the update,
A mother [Pilar Roig] and daughter have teamed up to restore frescos in Valencia’s Santos Juanes church using bacteria.
When her mother ran into trouble with a restoration project in Spain, Pilar Bosch, her daughter, a microbiologist, found an old paper on the application of bacteria in art restoration.
As a microbiologist, she was only searching for a subject for PhD, but her mother’s troubles restoring 18th-century paintings in Santos Juanes church made her take a closer look.
The restoration project in Valencia faced particular challenges. A botched effort in the 1960s damaged the priceless artwork even further, leaving behind a layer of glue made of animal collagen, according to the Beijing Times.
Having found a lead that could benefit her mother’s work and a historical and cultural landmark, science and art joined forces in a 4-million-euro initiative to apply this technique. And it worked.
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Here’s more about the project along with some technical details, from my June 7, 2011 posting,
Here’s the background on the problem the art restorers were trying to fix (from the news item),
The project came about when the IRP [Institute of Heritage Restoration] was in the process of restoring the murals of the Church of Santos Juanes that were virtually destroyed after a fire in 1936 and were improperly restored in the 1960s. The researchers tested new techniques for filling with transferred printed digital images in spaces without painting, but had great difficulty dealing with salt efflorescence, the white scabs caused by the build up of crystallized salts and the enormous amount of gelatine glue remaining on the pulled-off murals.
With the problem defined, the researchers then investigated a technique developed in Italy that looked promising (from the news item),
Therefore, Rosa María Montes and Pilar Bosch travelled to Italy to learn from the authors about the pioneering studies that used bacteria to remove hardened glue that was very difficult to treat with conventional methods.
The restoration of the Campo Santo di Pisa wall paintings was performed under the direction of Gianluiggi Colalucci, restorer of the Sistine Chapel, and his colleagues Donatella Zari and Carlo Giantomassi who applied the technique developed by microbiologist Giancarlo Ranalli. The researcher had also been testing with black crusts that appear on sculptures and artistic monuments.
The team returned to Spain to practice the technique and add some refinements (from the news item),
Back in Valencia, the multidisciplinary team perfected this method and trained the most suitable strain of Pseudomonas bacteria to literally eat the saline efflorescence found in the lunettes of the vault behind which pigeons nest.
“By the action of gravity and evaporation, the salts of organic matter in decomposition migrate to the paintings and produce a white crust hiding the work of art and sometimes can also cause the loose of the painting layer” says Pilar Bosch.
These scientists have managed to reduce the application time, and have also innovated in the way of extending the bacteria. According to Dr. Bosch: “In Italy they use cotton wool to apply the micro-organisms. We, however, have developed a gel that acts on the surface, which prevents moisture from penetrating deep into the material and causing new problems.
“After an hour and a half, we remove the gel with the bacteria. The surface is then cleaned and dried.” Without a wet environment, the remaining bacteria die.
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13 years! Brava to the two Pilars!
A Reuters article (September 27, 2024 by Horaci Garcia and Eva Manez) was the basis for most of the other articles about the two Pilars and their project that you’ll find on an internet search; you can find the Reuters article here.
Caption: The authors measured the relative scale and spacing of the whirling brush strokes in van Gogh’s “The Starry Night,” along with variances in luminance of the paint, to see if the laws that apply in the physics of real skies apply in the artist’s depiction. The results suggest van Gogh had an innate understanding of atmospheric dynamics. He captured multiple dimensions of atmospheric physics with surprising accuracy. Credit: Yinxiang Ma
Vincent van Gogh’s painting “The Starry Night” depicts a swirling blue sky with yellow moon and stars. The sky is an explosion of colors and shapes, each star encapsulated in ripples of yellow, gleaming with light like reflections on water.
Van Gogh’s brushstrokes create an illusion of sky movement so convincing it led atmospheric scientists to wonder how closely it aligns with the physics of real skies. While the atmospheric motion in the painting cannot be measured, the brushstrokes can.
In an article published this week in Physics of Fluids, by AIP Publishing, researchers specializing in marine sciences and fluid dynamics in China and France analyzed van Gogh’s painting to uncover what they call the hidden turbulence in the painter’s depiction of the sky.
“The scale of the paint strokes played a crucial role,” author Yongxiang Huang said. “With a high-resolution digital picture, we were able to measure precisely the typical size of the brushstrokes and compare these to the scales expected from turbulence theories.”
To reveal hidden turbulence, the authors used brushstrokes in the painting like leaves swirling in a funnel of wind to examine the shape, energy, and scaling of atmospheric characteristics of the otherwise invisible atmosphere. They used the relative brightness, or luminance, of the varying paint colors as a stand-in for the kinetic energy of physical movement.
“It reveals a deep and intuitive understanding of natural phenomena,” Huang said. “Van Gogh’s precise representation of turbulence might be from studying the movement of clouds and the atmosphere or an innate sense of how to capture the dynamism of the sky.”
Their study examined the spatial scale of the painting’s 14 main whirling shapes to find out if they align with the cascading energy theory that describes the kinetic energy transfer from large- to small-scale turbulent flows in the atmosphere.
They discovered the overall picture aligns with Kolmogorov’s law, which predicts atmospheric movement and scale according to measured inertial energy. Drilling down to the microcosm within the paint strokes themselves, where relative brightness is diffused throughout the canvas, the researchers discovered an alignment with Batchelor’s scaling, which describes energy laws in small-scale, passive scalar turbulence following atmospheric movement.
Finding both scalings in one atmospheric system is rare, and it was a big driver for their research.
“Turbulence is believed to be one of the intrinsic properties of high Reynolds flows dominated by inertia, but recently, turbulence-like phenomena have been reported for different types of flow systems at a wide range of spatial scales, with low Reynolds numbers where viscosity is more dominant,” Huang said.
“It seems it is time to propose a new definition of turbulence to embrace more situations.”
Matthew Rozsa provides a more accessible description of the research in a September 20, 2024 article for Salon.com, Note: Links have been removed,
… one can look at “The Starry Night” and see a scientifically accurate representation of turbulent, cascading waters — a visual that may have directly inspired van Gogh before he transposed those dynamics into his iconic starry sky while painting in his mental asylum room in the French town of Saint-Rémy-de-Provence.
“Imagine you are standing on a bridge, and you watch the river flow. You will see swirls on the surface, and these swirls are not random.” Yongxiang Huang, lead author of the study, told CNN. “They arrange themselves in specific patterns, and these kinds of patterns can be predicted by physical laws.”
Scientists fascinated by van Gogh’s art are not limited to physicists. When researchers discovered a gecko that reminded them of the paintings of van Gogh, they gave it the scientific name Cnemaspis vangoghi. As a common terms, the authors suggested “van Gogh’s starry dwarf gecko.”
Here’s a link to and a citation for the paper,
Hidden turbulence in van Gogh’s The Starry Night by Yinxiang Ma (马寅翔), Wanting Cheng (程婉婷), Shidi Huang (黄仕迪), François G. Schmitt, Xin Lin (林昕), Yongxiang Huang (黄永祥). Physics of Fluids Volume 36, Issue 9 September 2024 DOI: https://doi.org/10.1063/5.0213627
Pollinator Pathmaker Eden Project Edition. Photo Royston Hunt. Courtesy Alexandra Daisy Ginsberg Ltd
I suppose you could call this a kind of citizen science as well as an art project. A September 11, 2024 news item on phys.org describes a new scientific art project designed for insects,
Gardens can become “living artworks” to help prevent the disastrous decline of pollinating insects, according to researchers working on a new project.
Pollinator Pathmaker is an artwork by Dr. Alexandra Daisy Ginsberg that uses an algorithm to generate unique planting designs that prioritize pollinators’ needs over human aesthetic tastes.
Originally commissioned by the Eden Project in Cornwall in 2021, the general public can access the artist’s online tool (www.pollinator.art) to design and plant their own living artwork for local pollinators.
While pollinators – including bees, butterflies, moths, wasps, ants and beetles – are the main audience, the results may also be appealing to humans.
Pollinator Pathmaker allows users to input the specific details of their garden, including size of plot, location conditions, soil type, and play with how the algorithm will “solve” the planting to optimise it for pollinator diversity, rather than how it looks to humans.
The new research project – led by the universities of Exeter and Edinburgh – has received funding from UK Research and Innovation as part of a new cross research council responsive mode scheme to support exciting interdisciplinary research.
The project aims to demonstrate how an artwork can help to drive innovative ecological conservation, by asking residents in the village of Constantine in Cornwall to plant a network of Pollinator Pathmaker living artworks in their gardens. These will become part of the multidisciplinary study.
“Pollinators are declining rapidly worldwide and – with urban and agricultural areas often hostile to them – gardens are increasingly vital refuges,” said Dr Christopher Kaiser-Bunbury, of the Centre for Ecology and Conservation on Exeter’s Penryn Campus in Cornwall.
“Our research project brings together art, ecology, social science and philosophy to reimagine what gardens are, and what they’re for.
“By reflecting on fundamental questions like these, we will empower people to rethink the way they see gardens.
“We hope Pollinator Pathmaker will help to create connected networks of pollinator-friendly gardens across towns and cities.”
A November 4, 2024 ArtSci Salon notice (received via email and visible here, along with some embedded images, for a limited time) announces a series of events and a book launch,
Fall 2024 has brought us climate and political uncertainty. In November, we bring you some food for thought: join us at these events to reflect on uncertainty, shapeshifting Matter, Unstable Universes and Viral Phenomena .
Mark Your calendars on November 14, November 18 and November 21 see details below (in reverse chronological order)
Shapeshifting Matter for an Unstable Universe artist talk and discussion with Daniela Brill Estrada Thursday, November 21, [2024] 5:30-7:30 pm The Fields Institute for Research in Mathematical Science
Shapeshifting matter for an unstable universe is an in-disciplinary artistic project that challenges taxonomies and categories that divide nature into different boxes, not allowing bodies to exist freely, simply as part of the shapeshifting matter that inhabits this universe. The research tackles topics from astrophysics to origin of life research, and is based on daniela’s own experiences in understanding her own existence outside of these categories.
DANIELA BRILL ESTRADAis and artist and researcher from Bogotá based in vVenna [?]. inspired by origin of life research and astrobiology, she explores chemical trajectories, particularly those based on carbon. Currently, Daniela is an artist in residence at the SETI [search for extraterrestrial intelligence] institute and at the University at Buffalo, and a PhD candidate at the art x science school for transformation in Linz, Austria.
Join us at Celebrate Research Week and ORIHI launch (Osler Centre Institute for Health Innovation)
November 18, 2024 1. 11:00 am -12:00 pm Opening of Art and Science Exhibition with Daniela Brill Estrada and others 2. 2:00-3:30 pm Discussion and artist talk with Daniela Brill Estrada and Roberta Buiani
Osler Centre Institute for Health Innovation Brampton Civic Hospital Atrium 2100 Bovaird Drive East Brampton, ON L6R 3J7
Stay tuned for the the link to the Hybrid Event see more information and full program below
In a new era of global virology that requires novel methodologies to improve the comprehension of viruses and viral phenomena, Viral Behaviors explores the cultural, material, and artistic significance of viruses and viral phenomena.
The book contains a decade of research across art, science and technology and examines the struggles and successes of science and technology to tame the elusive nature and behavior of viruses, and the potential of art-based and cross-disciplinary collaborations to better communicate their complex making and intense entanglement with the world at large. Combining perspectives from art, philosophy, science and technology, it places biological and informational viruses alongside each other, revealing that, while the two types of agents affect the world in very different ways, their histories and manifestations contain surprising similarities that speak to a cultural continuum.
The book can be also borrowed from the University of Toronto Library and York University Library. don’t forget to tell your library to get a copy!
I wonder why they’re using the US spelling for ‘behaviours’. Leaving that aside, I’m sure it’s possible to enjoy one or more of the events and/or the book.
Not sure how I stumbled across this XR (extended reality) artist-in-residence programme but it’s been in place since 2022 (albeit with some changes). Here’s the announcement for the 2024 artist-in-residence, from the August 14, 2024 Consulate of France in Vancouver press release,
French artist Pierre Friquet, also known as, PYARé, is the latest laureate of the “XR Fall” residency dedicated to XR/AR/VR [extended reality/augmented reality/virtual reality], its third edition. He will be in Vancouver from October 29 to November 28, 2024.
This residency is a collaboration between the Consulate General of France in Vancouver, the Alliance française of Vancouver, the cultural institution of the City of “Paris Forum des Images”, Emily Carr University of Art and Design and the Institut français.
A hybrid creator based in Paris, Pierre Friquet has been designing immersive experiences (VR, dome films, AR, video mapping,) such as Spaced Out, Jet Lag, Vibrations and Patterns since 2010. His intent is to make people reconnect with their body and sense of self through art and technology.
These experiments have won awards at the Festival du Nouveau Cinéma, the Kaléidoscope festival and the Filmgate festival. His latest VR project, SPACE OUT, an immersive diving mask, was selected for the Sundance New Frontier 2020 festival and featured in the cultural programme of the Paris 2024 Olympic Games. Founder of the NiGHT collective, his projects include aquatic virtual reality.
In Vancouver, he will be working around the character of Captain Nemo, the famous warrior scientist in Jules Verne’s novel “20,000 leagues under the sea”.
The residency’s objective is to create an immersive experience allowing users to embody Captain Nemo in a VR adventure, piloting a gondola or riding a whale using intuitive VR controls. His work will focus on the symbiosis between technology and nature, marine conservation and post-colonial adventure. Project by PYARé & INVR.
Find out more about his artistic vision and creations on his website.
You have to have been resident in France for at least five years and speak English to be eligible.
Preparing for the 2025 calls for applications?
There are, in fact, three programmes: two in Vancouver,(1) the XR/AR/VR [extended reality/augmented reality/virtual reality artist-in-residence and (2) Arts & Sciences Quantum Studio artist-in-residence and there’s another ‘quantum programme’ in Paris, also called the Arts & Sciences Quantum Studio artist-in-residence.
The 2025 calls haven’t been announced yet but I do have the 2024 calls for applications and they should give you some idea of what questions you’ll need to answer and what materials you’ll need to prepare. These calls are in French.
Résidence « XR Fall» à Vancouver 29 octobre au 28 novembre 2024
Initiée par l’ambassade de France au Canada / consulat général de Vancouver dans le cadre de leur programme « Résidences Ouest-Ouest », en partenariat avec le Forum des Images (Paris), Emily Carr University of Art + Design (Vancouver), l’Alliance française Vancouver, et avec le soutien de l’Institut français, la troisième édition de la résidence d’écriture et de recherche “XR Fall” à Vancouver se déroulera du 29 octobre au 28 novembre 2024 à Vancouver, en Colombie-Britannique, Canada.
Ouverte à l’ensemble des réalités immersives, cette résidence doit permettre à un·e créateur·rice français·e de s’immerger au sein de l’écosystème local vancouvérois afin d’enrichir son projet d’écriture-recherche et d’étoffer son réseau professionnel. Elle sera également l’occasion de renforcer les liens et de créer de nouvelles synergies entre la France et l’Ouest canadien dans le domaine des innovations numériques. Cette résidence se tiendra à Vancouver du mardi 29 octobre au jeudi 28 novembre 2024.
Pendant la Résidence d’écriture-recherche, le·a créateur·rice sélectionné·e se consacrera au développement de son projet immersif pour lequel iel est invité·e à travailler en coopération avec des professionnel·les vancouvérois.es, ainsi qu’avec des équipes techniques et des sociétés de production locales. Le programme a également pour but d’aider le·a créateur·rice sélectionné·e à renforcer son réseau et ses compétences.
1.2 – Déroulé de la résidence
Du 29 octobre au 28 novembre 2024 à Vancouver, sur le campus d’Emily Carr University of Art + Design.
1.3 – Objectifs
Impulser ou consolider un projet d’écriture-recherche.
Favoriser la découverte de l’écosystème numérique de l’Ouest canadien, ainsi que des collaborations structurantes.
Une attention privilégiée sera portée aux projets ancrés dans le contexte local.
À l’issue de la résidence, l’artiste devra proposer un compte-rendu de son expérience, de son travail et de l’évolution du projet durant cette période.
1.4 – Avantages
Ce programme garantit, notamment, à la lauréate / au lauréat :
Une bourse de résidence à hauteur de 2.000 € (correspondant aux per-diem et à la participation à trois demi-journées de conférences/classes de maître durant la résidence)
Mise en réseau et relations avec l’écosystème local
Participation à des événements en Colombie-Britannique
Autres contreparties (conditions à définir ensemble) :
présentation du projet dans le cadre de NewImages Festival 2025
accréditation pour les Journées pro de NewImages Festival 2025
Présenter le fruit de son travail en résidence (prototype, work-in-progress) dans le cadre de V-Unframed 2025 (Vancouver)
1.5 – Équipement et accompagnement
Au sein d’Emily Carr University of Art + Design, ce programme garantit, notamment, à la lauréate / au lauréat :
L’accès au Basically Good Media Lab en tant qu’espace de travail sur une base régulière. Il s’agit d’un espace collaboratif et partagé avec des chercheurs des premier et deuxième cycles et des assistants de recherche.
L’accès à un ordinateur de pointe : un Dell Precision 3660 ; 32 Go de RAM ; i9-12900K (16 cœurs) ; NVIDIA GeForce RTX 3080.
Appui technique : support technique ponctuel pour aider l’artiste à réaliser son projet.
Mentorat d’Emily Carr University of Art + Design pour fournir un retour sur le projet et les approches de l’artiste, aider à faciliter l’utilisation des ressources et fournir des opportunités potentielles de mise en réseau avec la communauté.
L’accès à d’autres installations sur le campus, en fonction de leur disponibilité, y compris l’Integrated Motion Studio pour une utilisation en tant qu’atelier ou espace boîte noire. Le Basically Good Media Lab dispose de casques de réalité augmentée et virtuelle, avec des caméras 360 grand public et prosumers.
L’artiste sera également accompagné durant la résidence par les équipes de l’ambassade de France au Canada présentes à Vancouver et par celles de l’Alliance française Vancouver.
2- Conditions d’éligibilité
2.1 – Profil des candidat.e.s
Ce programme est ouvert à tout·e artiste, créateur.rice ou porteur.euse d’un projet XR en écriture-recherche.
Âgé.e d’au moins 18 ans
Résidant en France depuis au moins 5 ans
Parlant anglais
Professionnel.le confirmé.e, justifiant de premières expériences dans le domaine des réalités immersive
2.2 – Projets acceptés
Ce programme est ouvert aux réalités immersives dans toute leur diversité (réalité virtuelle 360° ou interactive, augmentée, mixte, installation incluant des technologies immersives, en lien avec la création sonore ou la technologie 4D, etc.).
Les projets devront être reliés à au moins l’un des grands thèmes suivants :
Durabilité environnementale
Justice écologique et action climatique
Justice sociale, santé et bien-être de la communauté
Recherches portant sur le territoire et les lieux
3- Processus d’inscription
3.1 – À propos de l’appel à candidatures
L’inscription du projet :
Doit être faite en anglais
Doit être faite en ligne à https://zhx2xeql.paperform.com jusqu’au dimanche 30 juin 2024 (23:59, GMT)
Doit être envoyée en un seul PDF
Est gratuite pour l’ensemble des postulant·es
À noter également :
Les inscriptions incomplètes ne seront pas prises en considération
Vos informations sont automatiquement sauvegardées en local ; vous pouvez donc fermer et/ou revenir ultérieurement au formulaire depuis le même appareil et le même navigateur (hors fenêtres de navigation privée)
Nous vous conseillons vivement de ne pas attendre les derniers jours de l’appel à candidatures pour soumettre votre projet, afin d’éviter tout problème technique.
En inscrivant un projet, vous reconnaissez détenir les droits afférents à celui-ci ou être habilité·e par tou·te·s les autres ayants droit. Le Forum des images, l’ambassade de France au Canada / consulat général de Vancouver, Emily Carr University of Art + Design, l’Alliance française Vancouver et l’Institut français ne peuvent en aucun cas être tenus pour responsables en cas de réclamation, conflit ou poursuite en lien avec l’inscription du projet.
3.2 – Informations requises
Avant votre inscription, nous vous invitons à prendre connaissance des informations et pièces demandées dans le dossier de présentation devant être joint à votre inscription (dans le même ordre que ci-dessous) :
Le plan de travail envisagé pour la résidence (prévisionnel)
Des visuels du projet (le cas échéant)
Une lettre de recommandation et/ou une lettre d’une institution culturelle française accompagnant le projet en vue d’une future exposition ou production de l’œuvre (facultative)
L’ambassade de France au Canada, en partenariat avec le Quantum Information Center Sorbonne (Sorbonne Université), le CENTQUATRE-PARIS (Paris) et le programme des résidences internationales Ville de Paris aux Récollets, lance le volet français de la résidence arts-sciences “Quantum Studio”. Cette résidence d’artiste aura lieu du 9 au 30 septembre 2024à Paris, France. Elle s’adresse à un ou une artiste canadien.ne résidant en Colombie-Britannique explorant les croisements entre arts et sciences.
Ouverte à l’ensemble des pratiques artistiques, la résidence cherche à construire des échanges entre arts et sciences quantiques (physique quantique, informatique quantique, physique de l’infiniment petit, sciences des matériaux, physique fondamentale).
Le Quantum Information Center Sorbonne (Sorbonne Université) et le CENTQUATRE-PARIS offriront à l’artiste sélectionné.e un espace de réflexion dans lequel artistes et chercheurs pourront se réunir, échanger sur leurs pratiques, apprendre les uns des autres et réfléchir ensemble à un projet créatif à la croisée des arts et des sciences. En amont de la résidence à Paris, plusieurs rencontres en ligne seront organisées, afin d’établir et d’entretenir un premier contact entre l’artiste lauréat.e au Canada et l’équipe hôte (institutions et scientifiques) de Paris.
1.2 – Déroulé de la résidence
Du 9 au 30 septembre 2024à Paris (hébergement au couvent des Récollets).
1.3 – Objectifs
Impulser ou consolider un projet créatif.
Le ou la lauréat.e a une obligation de restitution de recherche ou de rendu artistique (projet écrit, esquisses et croquis, œuvre, etc.) pendant leur séjour.
Partager son travail lors de séminaires arts et sciences co-organisés avec le Quantum Information Center Sorbonne et le CENTQUATRE-PARIS.
Favoriser la découverte de l’écosystème scientifique et artistique parisien, ainsi que des collaborations structurantes. Une attention privilégiée sera portée aux projets ancrés dans le contexte local.
1.4 – Avantages
Ce programme garantit, notamment, à la lauréate ou au lauréat :
3 semaines de résidence à Paris.
Un hébergement au sein du Couvent des Récollets (Ville de Paris), un bureau de travail au Quantum Information Center Sorbonne et un bureau de production au CENTQUATRE-PARIS.
Prise en charge complète (vols Vancouver-Paris, logement).
Un cachet de résidence à hauteur de 1.635 € (correspondant aux per-diem et à la participation à trois demi-journées de conférences/classes de maître durant la résidence).
Mise en réseau et relations avec l’écosystème local.
Participation, durant la résidence, à des rencontres avec les équipes de la 104factory, à des ouvertures de résidences au CENTQUATRE-PARIS et à des événements se déroulant au CENTQUATRE-PARIS.
Possibilité de participation, en post-résidence, à des événements en lien avec Némo-Biennale internationale des arts numériques de la Région Île-de-France, produite par le CENTQUATRE-PARIS.
2- Conditions d’éligibilité
2.1 – Profil des candidat.e.s
Artiste porteuse ou porteur d’un projet artistique en écriture ou en développement,
Âgé.e d’au moins 18 ans,
De nationalité canadienne ou titulaire d’une carte de résident permanent au Canada
Résidant en Colombie-Britannique,
Justifiant idéalement de premières expériences de création mêlant arts et sciences (les candidatures d’artistes ayant déjà travaillé ou travaillant en lien avec les sciences physiques seront appréciées).
2.2 – Projets acceptés
Ce programme est ouvert aux pratiques artistiques dans toute leur diversité (écriture, arts visuels et plastiques, arts numériques, design, danse, performance, réalités immersives, création sonore, etc.).
I have more information about the Quantum Studio artist-in-residence in Vancouver programme in an October 7, 2024 posting, scroll down t the ‘Quantum Studio’ subhead.
UNESCO triptych Resilience: Artistic Solutions for Human, Ocean and Biodiversity Challenges Downloaded from: https://hypeabis.id/read/42487/unesco-adakan-pameran-triptych-resilience-artistic-solutions-for-human-ocean-and-biodiversity-challenges-di-art-basel-paris
Thank you to the online magazine Hypeabis.id for the image,which accompanies an October 17, 2024 article by Yudi Supriyanto. For those interested in the article, you need Indonesian language skills.
At Art Basel Paris (18-20 October), UNESCO and Nautilus will present the triptych Resilience: Artistic Solutions for Human, Ocean and Biodiversity Challenges, an exhibition that brings together art and science in the search for a new balance between human beings and their environment.
“The union of science and art is fundamental to questioning and reinventing our relationship with the planet. We need both scientists and artists to understand and witness the wonders of biodiversity, and the urgent need to protect them. After Art Basel Miami in December 2023, UNESCO is delighted and proud to once again promoting this dialogue at Art Basel Paris,” said Audrey Azoulay, Director-General of UNESCO.
In collaboration with Nautilus, Dona Bertarelli Philanthropy, the Schmidt Ocean Institute and the United Nations Office for Disaster Risk Reduction (UNDRR), the exhibition Resilience: Artistic Solutions to Human, Ocean and Biodiversity Challenges presented by UNESCO at Art Basel Paris 2024 will consist of three collections:
* Tsunami: Sea Change for Resilience: a series of portraits by Matt Porteous dedicated to the survivors of the 2004 Indian Ocean Tsunami, twenty years after the tragedy. The photographer is also the co-founder of Ocean Culture Life, a network that brings together content creators and environmental activists.
* Biodiversity: Through the Lens: a stunning visual exploration of biodiversity devised by Discover Earth, a global community platform through which creators, institutions and partners join forces to raise awareness of the beauty and fragility of our planet, and cooperate to preserve it.
* The Artists-at-Sea collection: works by artists Taiji Terasaki and Rebecca Rutstein inspired by their time on board the R/V Falkor, the oceanographic research vessel of the Schmidt Ocean Institute.
This triptych will be presented in a mixed print and digital format at the UNESCO-Nautilus exhibition in the Grand Palais, which will also host a series of meetings and presentations on art and science over three days.
Members of the public will also be able to discover the Tsunami: Sea Change for Resilience and Biodiversity: Through the Lens collections at their leisure on the outside of UNESCO headquarters until 31 October [2024].
“Combining Nautilus’ innate story-telling mission, UNESCO’s mandate for culture, education and sciences, and a golden group of partners and artists, the exhibition invites us to contemplate the enduring forces of human and natural resilience. Even as we face an era of unprecedented environmental loss, these works of art show us that survival is not just about enduring; it is about adapting, evolving, and thriving against the odds,” said John Steele, Founder and Publisher of Nautilus.
This is UNESCO’s second participation in Art Basel. In December 2023, in Miami, the Organization highlighted the wonders of the deep sea and the importance of marine conservation alongside Nautilus and the Schmidt Ocean Institute. It also hosted several conferences bringing together artists and scientists. These initiatives testify to UNESCO’s determination to place art at the heart of sustainable development.
About UNESCO
With 194 Member States, the United Nations Educational, Scientific and Cultural Organization contributes to peace and security by leading multilateral cooperation on education, science, culture, communication and information. Headquartered in Paris, UNESCO has offices in 54 countries and employs over 2300 people. UNESCO oversees more than 2000 World Heritage sites, Biosphere Reserves and Global Geoparks; networks of Creative, Learning, Inclusive and Sustainable Cities; and over 13 000 associated schools, university chairs, training and research institutions. Its Director-General is Audrey Azoulay.
“Since wars begin in the minds of men, it is in the minds of men that the defenses of peace must be constructed” – UNESCO Constitution, 1945.
L’UNESCO et Nautilus présenteront à Art Basel Paris (18-20 octobre) le triptyque Résilience : solutions artistiques pour les défis humains, océaniques et de biodiversité, une exposition qui fait dialoguer l’art et la science à la recherche d’un nouvel équilibre entre les êtres humains et leur environnement.
“L’union de la science et de l’art est fondamentale pour interroger et réinventer notre relation à la planète. Nous avons besoin tout à la fois des scientifiques et des artistes pour comprendre et voir les merveilles de la biodiversité, et l’urgence à les protéger. Après Art Basel Miami, en décembre 2023, l’UNESCO est heureuse et fière de promouvoir ce dialogue à Art Basel Paris,” [dit] ]Audrey AzoulayDirectrice générale de l’UNESCO
En collaboration avec Nautilus, Dona Bertarelli Philanthropy, le Schmidt Ocean Institute et le Bureau des Nations Unies pour la réduction des risques de catastrophe (UNDRR), l’exposition Résilience : solutions artistiques pour les défis humains, océaniques et de biodiversité présentée par l’UNESCO à Art Basel Paris 2024 se composera de trois collections :
Tsunami : Changement radical pour la résilience :une série de portraits de Matt Porteous dédiés aux survivants du tsunami de 2004 dans l’océan Indien, vingt ans après la tragédie. Le photographe est aussi le cofondateur d’Ocean Culture Life, un réseau qui met en relation les créateurs de contenu et les défenseurs de l’environnement.
Biodiversité : à travers l’objectif : une étonnante exploration visuelle de la biodiversité imaginée par Discover Earth, plateforme communautaire mondiale par laquelle créateurs, institutions et partenaires s’allient pour sensibiliser à la beauté et à la fragilité de notre planète, et coopèrent pour la préserver.
La collection Artiste en mer : des œuvres des artistes Taiji Terasaki et Rebecca Rutstein inspirées de leur séjour à bord du R/V Falkor, le navire de recherche océanographique du Schmidt Ocean Institute.
Ce triptyque sera présenté dans un format mixte imprimé et numérique au salon UNESCO-Nautilus du Grand Palais qui accueillera également pendant trois jours une série de rencontres et de présentations sur l’art et la science.
Le public pourra également découvrir les collections Tsunami : Changement radical pour la résilience et Biodiversité : à travers l’objectif en accès libre sur les grilles extérieures du siège de l’UNESCO jusqu’au 31 octobre.
“Combinant la mission de Nautilus en matière de narration, le mandat de l’UNESCO pour la culture, l’éducation et les sciences, et l’implication d’un groupe exceptionnel de partenaires et d’artistes, cette exposition nous invite à contempler la résilience des êtres humains et de la nature. Alors même que nous sommes confrontés à un péril environnemental sans précédent, les œuvres exposées nous montrent que la survie n’est pas seulement une question d’endurance ; il s’agit de s’adapter, d’évoluer et de prospérer contre vents et marées,” [dit] John Steele Fondateur et éditeur de Nautilus
Il s’agit de la deuxième participation de l’UNESCO à Art Basel. En décembre 2023, à Miami, l’Organisation avait mis en évidence les merveilles des grands fonds marins et l’importance de la conservation marine aux côtés de Nautilus et du Schmidt Ocean Institute. Elle avait aussi animé plusieurs conférences réunissant artistes et scientifiques. Ces initiatives témoignent de la volonté de l’UNESCO de placer l’art au cœur du développement durable.
À propos de l’UNESCO
Avec 194 États membres, l’Organisation des Nations Unies pour l’éducation, la science et la culture contribue à la paix et à la sécurité en menant la coopération multilatérale dans les domaines de l’éducation, de la science, de la culture, de la communication et de l’information. Basée à Paris, l’UNESCO possède des bureaux dans 54 pays et emploie plus de 2300 personnes. L’UNESCO supervise plus de 2000 sites du patrimoine mondial, réserves de biosphère et géoparcs mondiaux ; des réseaux de villes créatives, apprenantes, inclusives et durables ; et plus de 13 000 écoles, chaires universitaires, établissements de formation et de recherche associés. Sa directrice générale est Audrey Azoulay.
“Puisque les guerres prennent naissance dans l’esprit des hommes, c’est dans l’esprit des hommes que doivent être construites les défenses de la paix” – Constitution de l’UNESCO, 1945.
For anyone who can’t attend Art Basel Paris 2024 but would like to see the exhibition at UNESCO headquarters in Paris, you can find location information and more at the UNESCO House webpage.