CHI - Art Manifestation in the World of Commerce
MIT art residency: co-existence of science and art
藝術是一個活的有機體，在不同的方向發展和紮根。我們從時尚、攝影、都市生活中看到藝術，而現在藝術已經進入了科學和技術領域。這兩個平行的維度不僅找到了共同點，而且擴散成世界上從未見過的東西。現在他們在一個巨大的層面上合作。當談到科學巨人時，麻省理工學院(MIT)打破了一個又一個記錄。這是一所被認為是機器人和人工智慧領域創新者的大學，它的技術教育項目被認為是全國最好的。該學院在其他許多領域也享有盛名，包括經濟學、語言學、哲學和音樂。Art is a living organism that evolves and takes roots in different directions. We see art in fashion, cinematography, urbanism, and now art has reached science and technology. The two parallel dimensions not only found common ground but diffused into something that the world has never seen before. Now they work together, on a giant level. When it comes to science giants, Massachusetts Institute of Technology (MIT) breaks record after record. This is a uni that is fairly considered an innovator in the fields of robotics and artificial intelligence, and its technics educational programs are recognized as the best in the country. The institute is also renowned in many other fields, including economics, linguistics, philosophy and music. 2012年，麻省理工學院再次重拳出擊。他們成立了麻省理工學院CAST——藝術、科學和技術中心。藝術和科學有什麼關係？問得好，顯然答案是「很多」。自2012年以來，CAST已經成為超過35個藝術家駐地和合作項目的催化劑，支持與科學和工程實驗室合作的藝術家的研究項目，以及贊助座談會、研討會、設計工作室、講座和出版物。該中心為藝術、科學和技術作為探索、知識和發現的相互關聯形式而蓬勃發展創造了機會。他們是怎麼做到的呢？通過介紹兩大類演出項目及到訪藝術家。讓我們一步一步瀏覽他們。In 2012 MIT punched above its weight once again. They opened MIT CAST - the Center for Art, Science & Technology. What does art have to do with science? Good question, and apparently the answer is 「a lot」. Since 2012, CAST has been the catalyst for more than 35 artist residencies and collaborative projects, supported research projects for artists working with science and engineering labs, and sponsored symposia, workshops, design studios, lectures and publications. This center creates opportunities for art, science and technology to flourish as interrelated forms of exploration, knowledge and discovery. How do they do that, actually? By introducing two main streams of performance - Projects and Visiting artists. Let’s travel through them step by step.CAST開設新課程，舉辦展覽，在麻省理工學院內外進行表演。麻省理工學院開設了一門叫做視覺藝術和神經科學的課程。如果你問，每個領域都能提供給另一個領域什麼，答案是「填補空白」。神經科學和藝術都提供了一套工具來研究不同層次的建構過程。這門交叉學科的課程向學生介紹視覺感知的核心概念。它們在大腦對傳入的感覺數據的解讀和藝術的體驗世界的構建之間架起了一座橋梁。通過使用不同的感知模型，該課程為藝術家提供了重新混合體驗的工具包。該課程包括一個工作室的組成部分，在那裡藝術家可以實踐不同的影響，通過嘗試不同的工具和科學的分析觀眾的反應。CAST opens new courses, creates exhibitions and does performances both inside and outside MIT walls.MIT has opened a course that is called Vision in Art and Neuroscience. If you ask, what each field has to offer the other, the answer is 「occupying the gap」. Both neuroscience and art provide a set of tools for investigating different levels of the constructive processes. This cross-disciplinary course introduces students to core concepts in visual perception. They build a bridge between the brain’s interpretation of incoming sensory data, and the construction of experiential worlds in art. With the use of different perception models, the course gives artists a toolkit for remixing the experience. The course includesa studio component, where artists can practice different impacts on the audience through trying different tools and analyzing the audience reaction scientifically.這個項目的作者們集合了教職員工和藝術家，將裝置和座談會放在一起——其中有三個在校園裡。在2018年的感知展上，他們為光線、形狀和其他視覺線索提供了科學的方法。其中一件展品被稱為白色峽谷，它創造了一個沒有清晰邊緣的環境，從而刺激了不明確的深度感知。隨著表面的變化和邊緣的消融，他們提供了一個機會去探索大腦試圖將深度強加於模糊之上的嘗試。藝術和神經科學領域的視野也在校園之外延伸，通過裝置藝術，與博物館(包括紐約大都會藝術博物館)的合作，以及與德國的ZERO Group的合作。通過所有這些努力，創作者強調感知是一種根本上的創造性行為，它可以被用作翻譯創造力的工具。With a mix of faculty members and artists, the authors of this projects have put together installations and symposia—including three on campus. During their Perceiving the Perception Exhibition in 2018 they offered a scientific approach towards light, shape and other visual cues. One of the showpieces was called the White Canyon and it created an environment without clear edges, thus stimulating depth perception without definiteness. With shifting surfaces and dissolving edges, they presented the opportunity to explore the mind’s attempt to impose depth on the ambiguous.Vision in Art and Neuroscience are reaching beyond campus as well, through installations, collaborations with museums (including the Metropolitan Museum of Art in NY), and a partnership with the ZERO Group in Germany. With all these efforts the creators stress that perception is a fundamentally creative act, which can be used as a tool for translating creativity.
麻省理工學院鼓勵對科學進行藝術詮釋的方式之一就是舉辦MIT表演。這是一系列以研究為基礎的跨學科藝術實踐活動，鼓勵當代表演通過新的平臺去嘗試表達自己。「我應該告訴你，在這場演出的大部分時間裡，我認為舞臺是浮動的。實際舞臺不是浮動的」——《時代雜誌》(The Times)。2018年，安德魯·施耐德(AndrewSchneider)和他的合作者展示了三聯表演作品——《無處》(YOUARENOWHERE)、《AFTER》(AFTER)和《神經/系統》(NERVOUS/SYSTEM)。這三個項目旨在通過將視覺和聽覺景觀轉化為複雜的流體感官超載，創造一個存在冥想的環境。目的是讓參觀者問自己一個問題——存在意味著什麼，現在就在這裡，我的存在對別人有什麼影響?這是通過對平行大學、量子物理、神經元恢復和地球歷史等學科的分解來實現的。跨歷史的多學科敘事創造了對科學發現的哲學解釋，以戲劇表演、互動技術小組和展後對話的形式呈現。One of the ways MIT uses to encourage artistic interpretation of science is holding MIT Performing. This is a series of events that represents research-based cross-disciplinary artistic practices, encouraging contemporary performance to try express itself through new platforms.「I should probably just tell you that for most of the show I thought the stage was floating. The stage was not floating」, - The Times. In 2018, Andrew Schneider with his collaborators presented a triptych of performance works – YOUARENOWHERE, AFTER and NERVOUS/SYSTEM. These three projects intended to create an environment for existential meditation through transforming visual and aural landscape into a complex fluid sensory overload. The aim was to make the visitor ask himself a question – what does it mean to exist, to be here right now, and how does my existence affect others』? This was achieved through decomposition of such subjects like parallel universities, quantum physics, neurons recovery and history of the planet. Cross-historical multidisciplinary narrative created a philosophical interpretation of scientific discoveries, presented in forms of theatrical performance, interactive technological panels and post-show talkbacks. 2019年，舞蹈編導、馬戲雜技家和作家阿德裡安娜·特拉斯科特以她的作品《THIS》參加了麻省理工學院的系列表演。正如《紐約時報》所寫，「在《THIS》中，Truscott成功地實現了一個真正的繞口令：用一種沒有舞蹈的舞蹈來描述舞蹈……去編排一種思想的舞蹈。」表演平衡了女權主義和城市生活，探索了舞者在現實世界中的角色和女性身體。作者加入了女性精神的狂野，創造了一個自負的非線性懺悔室，故事發生在麻省理工學院的牆壁上。In 2019 a choreographer, circus acrobat, and writer Adrienne Truscott participated in MIT Performing Series with her work THIS. As New York Times wrote about it, 「In『THIS,』 Truscott has managed a real tongue twister: to make a dance about dance with no dance in it… to choreograph a dance of the mind.」 The performance balanced between feminism and urban living, as well as explored the role of the dancer and the female body in the real world. The author added the wildness of female spirit to create a cocky nonlinear confessional, and the action took place in the walls of MIT.CAST邀請來自不同領域的藝術家來傳授他們的信仰並展示他們的作品。建築師出身的藝術家託馬斯·薩拉瑟諾(Tomas Saraceno)是這個項目的第一個參與者。他在2019年展示了他的藝術作品，隨後舉行了一場表演。該作品被稱為「蜘蛛的畫布/蜘蛛無人機」(Spider's Canvas /Arachnodrone)，專注於詮釋無處不在的蜘蛛網幾何圖形。他使用了一個被創建的網絡數學模型，為網絡幾何提供了一種聲音化的方法。在把網絡翻譯成可聽到的聲音之後，薩拉瑟諾又讓它在音樂會上交互式地播放。Buehler教授說：「我們的合作使我們能夠進一步理解它的序列和結構，以及如何在不同的空間實現複雜的功能——材料和聲音，以及所有這些之間的空間。」Buehler教授與Saraceno合作創作了這幅作品。CAST invites artists from various fields to teach their beliefs and show their works.Tomás Saraceno, an artist trained as an architect, was the first participant of this program. He presented his art piece in 2019, followed by a performance. The act was called Spider’s Canvas / Arachnodrone and focused on the interpretation of ubiquitous spider web geometry. He used a mathematical model of the web that was created to provide a sonification approach to the web geometry. Having translated the web into audible sound, Saraceno then made it interactively played at the concert. 「Our collaborations have enabled us to advance our understanding of its sequences and structure, and how complex functions are achieved in different spaces—material and sound, and all in between」, - said professor Buehler, who collaborated with Saraceno to create this piece.2018年，一支由國際有色女性組成的團隊hypene - labs被邀請到麻省理工學院作為訪問藝術家。他們與幾個實驗室合作：想像、計算和表達；合成神經生物學；公民媒體中心。這種結合產生了一個由三部分組成的數字敘事，這個項目被稱為神經猜測性非洲女權主義。通過裝置裝置和科幻小說，他們創造了一個想像新世界和提出替代未來的項目。hypene-labs將設計、VR和神經科學結合起來，強調了在科技和未來主義中缺乏有色女性的問題。《紐約客》寫道,沒有其他詞來描述比「體驗」項目,作為虛擬事件發生在它是超現實主義的和發人深省的：「站在一個粉紅色的沙漠景觀,我低頭一看,發現成為一個機器人,瘦小的金屬腿和手鉗。沒有任何警告，也沒有任何解釋，我的手變成了大炮，開始發射炮彈，再仔細一看，我看到的是金屬的小貓。」
In 2018, an international team of women of color Hyphen-Labs were invited to MIT as visiting artists. They collaborated with several labs: Imagination, Computation and Expression; Synthetic Neurobiology; and the Center for Civic Media. This union resulted in a three-part digital narrative, a project called NeuroSpeculative AfroFeminism. Through installations and science fiction they created a project that imagines new worlds and proposes alternative futures. Hypen-Labs combined design, VR and neuroscience to stress the lack of women of color in technology and futurism. The New Yorker wrote that there is no other word to describe the project than 「experience」, as the virtual events happening inside it were surrealistic and thought-provoking: 「Standing in a pink desert landscape, I looked down and realized I』d become a robot, with skinny metal legs and pincers for hands. Without warning or explanation, my hands became cannons and began firing projectiles, which, on further inspection, I saw were small metallic cats.」事實證明，藝術和科學之間存在著化學反應。這兩種元素之間反應的結果總是能產生令人興奮的化合物，隨時準備炸裂我們認為的現實存在。這兩個世界的交集不僅以一種富有成效的方式存在，而且擴展了意識的邊界。通過相互分享工具，藝術和科學創造了新的體驗、新的景觀、新的現實，從而激發了以前從未有過的想法。As it turns out, there is chemistry between art and science. The result of a reaction between these two elements is always a mind-blowing compound, ready to explode the reality we think we exist in. Intersection of the two worlds does not only exist in a productive way, butexpands the boundaries of consciousness. By sharing tools with each other, art and science create new experiences, new landscapes, new realities, and thus provoke thoughts that never occurred before.
By Daria Zhuzhlikova for CHI