Creative Disturbance

Chercheur en médecine, commissaire et critique d’art, Jens Hauser présente l’exposition ‘WetWare’ qu’il a organisé avec David Familian pour le Beall Center à UC Irvine. Rappelant les écrits de Chris Salter, il y fait l'état d’un basculement de l’art de la performance à la performativité s’enracinant dans la théorie du discours (langage), la théorie du genre (corps construits),  l’anthropologie (comme méthode d’inspection), et les sciences performatives (sociologie des sciences). Ces changements d'échelles, d’espaces, d'écologies resituent le corps sur un plan mésoscopique, a la fois objet et sujet, y compris dans le non-vivant. La microperformativité a pour but de relocaliser les actions ou fonctions à l'intérieur de ce corps afin d’aller au corps microscopique - séquences génétiques, molécules, organes...

Artist Gina Czarnecki and scientist John Hunt present their work Heirloom which is a living portrait of the artist's daughters consisting of a glass cast of their faces onto which their skin cells are growing within a bioreactor. A video document of the whole process and 3D scanning-printing sculptures complete the work. They discuss the ethical issues raised by this work, from the consent forms to regenerative and personalized medicine.

Enregistré par Annick Bureaud le 26 mai 2016 à Copenhague dans le cadre du projet Trust Me, I'm An Artist [http://olats.org/trustme/trustme.php], soutenu financièrement par le programme Creative Europe de l’Union Européenne.

Jingles et habillage sonore Jean-Yves Leloup, musiques Carl Harms, David James Elliott "The Wire", Sergey Lopoukha "Lull" (Universal Production Music Publishing), Stefanski "Last Light Lament" (Atmos Production Music/UNIPPM)

In the first part of the podcast, art curator and media studies scholar Jens Hauser, interviewed by Roger Malina and Yvan Tina address the question of staging aliveness. Hauser argues that, between life in silico and life in labs, we’re witnessing the  animation of the technological, on one side, and the technologization of the animated on the other. Opposing Biomediality to communication media, the critic returns to the in-betweeness space of the medium. Through the scales of performance and performativity - mesoscopic definitions of the human body - macroscopic scales of molecular biopolitic , a gallery of spaces, ecologies and processes sets the stage for energetic theaters.

Efe Kerem Sözeri

The artist Howard Boland presents his project Cellular Propeller, not achieved at the time of the recording, and that consists of propelling an artificial object, namely a small wheel, with human sperm cells in a synthetic biology artwork. He discusses the ethical and aesthetical issues related to the creation of this work as well as his creative process.

Enregistré par Annick Bureaud le 6 février 2016 à Berlin dans le cadre du projet Trust Me, I'm An Artist [http://olats.org/trustme/trustme.php], , an EU project that is exploring ethical issues in art that engage with biotechnology and medicine.

Jingles et habillage sonore Jean-Yves Leloup, musiques Carl Harms, David James Elliott "The Wire", Sergey Lopoukha "Lull" (Universal Production Music Publishing), Stefanski "Last Light Lament" (Atmos Production Music/UNIPPM)

Conducted by Josh Brumett and Alex Garcia Topete, this last part of the interview explores the notion of greenness as it relates to art history. The most anthropocentric of all colours, art curator Jens Hauser says , green stands for nature, has something related to growth and constitute a large part of our visual spectrum. From night visual devices to first computer screens, green operates like a technical colour. While being the most toxic colour when it comes to the production of its particles and its pigments, green is used as an attempt to ‘green’ life itself, language, technology, and chemistry. Using Jun Takita’s transgenic mouss sculpture, and Cohen Van Balen's Pigeon D'or as biofacts - that is to say as living system equivalent to the artefact - Jens Hauser reveals how these artworks point to the intervention of human life.To what degree a bioartist has to take into account what will take place in the world?

James Ferguson talks about early data sonification use in the Voyager satellite mission and other examples including the sonification of the LIGO gravitational waves, He discussed current work that is described in an article in the Communicating Astronomy with the public journal, He and Roger Malina discuss the concerns from some scientists as to whether such sonifications actually mis-communicate with the public.

Cenk Dereli, Evren Uzer ile tasarımcıların ağırlıkta olduğu farklı meslek profesyonellerinden kadınlardan oluşan, kendisinin de parçası olduğu kolektif üzerine konuşuyoruz.

This podcast features Salma ElDardiry, Senior motion graphic artist and digital composter at Bibliotheca Alexandrina. In 2013, ElDardiry launched her project, Describing Egypt, which exhibits historical Egypt in virtual reality tours. The locations selected documents Egypt's Pharaonic, Islamic, Coptic and Jewish heritage. ElDardiry is also a freelance colorist, animator, musician and a photographer.

Brian Burnham just received his PhD in Geology from the University of Manchester. He discusses the field of sequence stratigrahy, a field crucial for understanding the changes of sea level in the past and interpreting current climate change sea level change. With Roger Malina he discusses transdisciplinary collaboration between the geosciences, computer sciences and art and technology.