Kellie Payne has attended numerous ‘art and science’ events, but in this guestÂ blogÂ sheÂ argues that last weekend’s day-long symposiumRising To The Climate Challenge: Artists and Scientists Imagine Tomorrowâ€™s World was particularly successful.
The Tate had paired with the Royal Society to present an impressive line-up of speakers, including artists Lucy Orta, TomÃ¡s Saraceno and the eminent land artist Agnes Denes. But its success could be attributed toÂ another reason.
Kellie Payne writes:
Rather than framing the question as: ‘how can artists help scientists communicate climate change?’, last Saturday’s symposiumÂ Rising To The Climate Challenge took the view that art and science had two very different perspectives to offer and much could come from their collaborations. Artâ€™s role isnâ€™t simply to reformulate and appealingly package the scientific messages; instead it has a more fundamental exploratory and imaginative role.Â
The climate science programme largely reflected the Royal Societyâ€™s priorities andÂ included, along with the expected division of adaptation and mitigation a third one, geo-engineering. However, oceanographer and earth scientistÂ Corinne Le QuÃ©rÃ© , who introduced the topic, revealed that she was stuck with presenting it because none of the other speakers wanted it. Professor Le QuÃ©rÃ© gave a well-balanced presentation comparing the various optionsâ€™ effectiveness (predicted ËšC temperature change) versus the level of risk.
With more controversial options such as the frightening volcanic method, where artificial volcanoes are created in the atmosphere to reflect and reduce solar radiation, she demonstrated that even this was only a temporary fix. The volcanoes would need to continually be created because as soon as they ceased, CO2 levels in the atmosphere would rapidly return to pre-volcanic levels. A less risky option, managing earth radiation through afforestation was shown to be less effective, with a possible decrease in warming projected at only 1ËšC.
Agnes Denes’ land art was incorporated into the topic of geo-engineering because her large-scale works often drastically alter the landscape. In Finland she createdÂ Tree Mountain- A Living Time Capsule, building a conical mountain and planting it with 11,000 trees, and planting and harvesting a wheat field in central Manhattan (Wheatfield: A Confrontation). During her slide show, Denes explained that she likes to investigate the paradoxes of human existence: logic, evolution, time, sound, etc. and believes that by shaping and structuring the future we can control our own evolution.
TomÃ¡s Saraceno presented with an infectious energy, bursting with novel, if impractical ideas thatÂ included his floating ecosystems.Â Saraceno makes bold and imaginative attempts to stretch the boundaries of our conceptions of space and gravity with his experimental floating pods.Â His presentation was paired nicely with Oxford social scientistÂ Steve Raynerâ€™s on adaptation. He focused on cities of the future and the importance of instituting greater flexibility within existing infrastructures in order to cope with future climate events such as extreme flooding. He admires Saracenoâ€™s work, in particular his innovation with new materials, shapes, and possibilities of new patterns of organisation.
Rayner highlighted three typical art/science interactions. The first was demonstrated by a photograph of a diseased liver cell and represented the mode of seeing beauty in the scientific. The second was artâ€™s influence on science (mainly through science fiction such as HG Wells and Jules Verne), the model of artists stimulating scientists with their work leading to new ideas and discourses.Â The third – whichÂ Rayner thought the most compelling – were the interactions between scientists and artists that occur when artists â€˜do science through artâ€™. Essentially, where the borders between the two are eliminated and artists employ scientific methodology in their creations, as demonstrated in Saracenoâ€™s work.
The collaboration between scientific institutions and artists was illustrated in a discussion between the Natural History Museumâ€™sRobert Bloomfield and artistÂ Lucy Orta , whose upcoming exhibition at the Jerwood Gallery Perpetual Amazonia is extensively researched using the NHMâ€™s entomology, botany and palaeontology collections. The exhibition will also be informed by Lucy and her partner Jorgeâ€™s expedition to the Peru with Cape Farewell in 2009. Â Bloomfield specialises in biodiversity and stressed the importance of the interrelations between climate change and biodiversity loss and ecosystem services.
The event was recorded. Podcasts will beÂ available soon onÂ the Tate website.