Wednesday, 4 November 2015


a great day of presentations at the Nano event for the Cambridge festival of imagination. our team decided to have questions within the presentation which led to us reading out a set of questions - it went very well and the questions led to more questions which was the point of the whole issue for me. enabling a rethinking of my practice. here's a link to the presentation - and here's the script.
1             When discussing nano does understanding falter because it's smaller than I can represent with my own body?
1 - Does having to conceive of something as an idea in my mind limit my understanding of it?
2 - Do we need to train our brains to become better at discussing and understanding things that we can’t see?
3 - are really small things just very frightening?
2             what is the purpose of the experiment?
1 - Do we create knowledge or is it all out there waiting to be discovered?
2 - Does the concept of a failed experiment actually exist?  How can I use this idea with the students I teach?
3 - Is there is such a thing as a stupid experiment where no knowledge is created?
3             How are artists and scientists bound by givens in their perception of the world?
1 - Are scientists trying to work with physical things that exist but can't be seen and artist's trying to make physical things based on concepts that can't be seen?
2 - On the whole, do givens help or hinder progress in science?
3 - Is it true to say givens are more common place in science than in art?
4             what is the relationship between perception and belief?
1 - To build a foundation to work on do scientists have to believe in the existence of phenomena they cannot see to develop a practice? what is the role of belief?
2 - What is the role of perception?
3 - If there is strong evidence for a phenomena can it still be considered ‘beliefs’?
5             What is the role of intention?
1 - What is the role of trust in the creative process?
2 - Can chance encounters occur in both cases?
3 - Can science or art be done without the intention to do so? Does this make them different?
6             can babies do science?
1 - can one just start doing science without knowledge?
2 - can one just start doing art without knowledge?
3 - what is the role of post rational thought within progress?
7             Is there a personal language of science?
1 - art is concerned with creating an individual, personal language  - does science need to have a shared language to progress? - or is it all a universal language?
2 - Mathematics is often described as the language of the universe, how does this differ to a personal language in science?
3 - when we share words do we really understand each other?
8             Do we have a certain perception convention within particular fields?
1 - Coming into contact with the language of science and thinking has introduced new phrases to my own practice and enabled me to rethink ones I thought I understood - how will I use this?
2 - to what extent does this shared language within fields help or hinder progress?
3 - Does all the science within a particular field have the same language?
9             what makes an outcome an outcome?
1 - How do we perceive an outcome?
2 - when do we know when to stop?
3 - is reflective thinking just post rational cover up?
10           how can something that is so wrong be so right?
1 - what is the importance of closed minds?
2 - Is it really true that if you don't know how it works it's not science?
3 - What has bad science got to teach good art?
11           Does science need to start with the knowledge of many?
1 - where does art begin and science end?
2 - does 'the community' endorse which knowledge is valued?
3 - Can new science or art be achieved without the knowledge of many? 
12           There is a wider audience for the outcomes of what can be made from science but do scientists have an audience other than themselves to enable them to think and deduct?
1 - is science too closed to be understood by the general public?
2 - Are we just selfish beings who want to feel like we have a meaning or purpose?
3 - is art too easy to dismiss? is art too closed to be understood by the general public?
13           Are there parallels between the craft skills of art and those of science?
1– Does the knowledge of how to do things - the skill and craft of making enable scientists to make?  2 - Can art be created without the acquisition of skills?
3 - is there a craft to thinking?
14           How do the clothes we work in support thinking?
1 - can ritual and uniform create a heightened awareness of one's activity?
2 - does uniform constrict creativity and result in increased conformity to established ideas?
3 - How do the spaces we work in support thinking?
15           Everything we see may not be there or at least not as we think it is - where is our starting point?
1 - Bottom-up or top-down? When is either more appropriate and how do we know?
2 - where do we go for the answers?
3 - how do the tools we use to see alter our perspective on what we see?
16           Is there a shelf-life on what is true?
1 - How do we work with truths?
2 - truth is an expensive word, can we use it with any certainty
3 - how do we know?
17           What is the role of ‘external forces’ on creativity?
1 –Does the engagement of art and science with business support or mold what the work becomes and where it goes.
2 - Does this then start to define what is researched or made and eventually defines what art or science is?
3 - has the learning outcome destroyed creativity in education?
18           What makes something meaningful?
1 - Is art a way of making sense of the world?  
2 - Is science a way of making sense of the world?
3 - are we all just making tools for thinking?
19           What should I work on next?
1 - How do I know what to do next? How do I know what is right?
2- Is the process of deciding what to do next on the whole more regimented in science than in art?
3 - Does it all depend on what everyone else is doing?
20           This needs a question here
the evening was about the intense experience of watching FK Alexander: NO WHERE // NOW HERE' 90 minutes exploring excess, loss, and change - brutally forceful. Teaching this week at NUA has seen the briefing of body - a project - we will see what happens. Already looking forward to Deborah Pearson at battersea arts centre before going on to spill - there's also a list of visual art that needs to be seen - starting with the Curve at the Barbican.