January 2010 saw the launching of two major new publications that examine how best to disseminate science to the public through a variety of new and traditional media. Together, the more than forty essays they contain provide a stimulating overview of new, innovative and successful initiatives in this field, written by many of the museum community’s most experienced and thoughtful practitioners. The essays draw on cutting-edge experience throughout the world, with contributions from Australia, Brazil, Canada, France, Germany, Greece, Japan, Mexico, Portugal, Singapore, and New Zealand, as well as from the UK and USA. The book is edited by Dr. Anastasia Filippoupoliti, Lecturer in Museum Education at the Democritus University of Thrace, Greece.  She writes, “In this book, I wanted to examine the narratives generated in science exhibitions and tackle some of the challenges museums experience in transforming scientific concepts or events into three-dimensional exhibits.”

The two publications, Science Exhibitions: Curation & Design and Science Exhibitions: Communication & Evaluation, are available either separately or together.   For full details please visit:  www.museumsetc.com/?p=2175

A new article published in the peer-reviewed journal Contemporary Aesthetics

KEY WORDS
aesthetics, image-data, image-generating technique, magnetism, optic-haptic vision, potentiality, sculpture, seeing and reading

Read the full article here:

http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=569

Gennaio 2010

Corpo Automi Robot. Tra Arte, Scienza e Tecnologia

Lugano, 25 ottobre 2009 – 21 febbraio 2010

Recensione:

http://www.digicult.it/digimag/article.asp?id=1721

April 2010

Exclusive!

An interview with James Johnson-Perkins, artist-in-residence at Emily Harvey Foundation, Venice.

To read the interview please click on

http://www.digicult.it/digimag/article.asp?id=1782

 Art Controversy in Northern Ireland

There is an echo outside the entrance of the brand-new library at Queen’s University, Belfast: Eco, a layered double-head sculpture by the Breton artist Marc Didou. Eco is haunted by the ghost of its former self which was once located outside Queen’s main entrance – right in the middle of the semicircular space, a few steps behind the War Memorial, available to people passing by. Just like the new library, Eco is going to be inaugurated on 15 October 2009. In brief, the original location of Eco was another one.

Read the whole article on Ireland’s leading magazine for contemporary art and visual culture:

http://www.recirca.com/cgi-bin/mysql/show_item.cgi?post_id=5026&type=articles&ps=publish

Un fotografo cineasta, Raymond Depardon, a cavallo tra documentario e fiction, vincitore del premio Pulitzer e autore di numerosi reportage in paesi come Biafra, Ciad, Venezuela, conosciuto anche per aver trascorso un periodo nel 1976 presso l’ex ospedale psichiatrico di San Servolo, a Venezia, gira nel 1996 una sorta di docu-fiction su un viaggio in Africa durato tre anni e sul mestiere stesso di film-maker. William Kentridge: nativo del Sud Africa, un artista la cui matrice espressiva è il disegno ma che spazia dalla scultura all’animazione all’installazione video, da sempre si interroga sulla dimensione sociale dell’arte e sulla responsabilità dell’artista.

Questo breve articolo non tenta una comparazione tra due artisti i cui linguaggi espressivi sono diversi, le cui biografie non si incontrano se non per il fatto di avere in comune Lei – l’Africa.

Quel che segue è un raffronto critico, un’esplorazione di due sguardi, quello di Depardon e quello di Kentridge, due artisti accostati non tanto perché ritraggono l’Africa, ma perché l’estetica del loro sguardo è simile.

Per leggere il resto dell’articolo, clicca qui:

http://www.digicult.it/archivio/digimag46/

The two articles are:

• Science is Sexy: Felice Frankel (Published in June 2009)
• Marc Didou: Resonances (Published in April 2009)

The neuroscientist Steven Rose claims that an instrument itself, e.g. a scientific tool, shapes, and sometimes reduces, the world it depicts and our perception of it. Thus, when we hold a hammer, everything will appear more or less as a nail (Rose, 2005). But what would happen if the same instrument were taken out of its original context and employed in an alternative way to its prescribed usage?

The existence of a relationship between art and science
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