An artsci science | Intellect Skip to content
Volume 13, Issue 1-2
  • ISSN: 1477-965X
  • E-ISSN: 1758-9533



I see art as the most efficient technological field for triggering human imagination. I am not alone in my conviction that human imagination has the potential to feed back to arts and science in creative and transforming ways, as does to every humanconceived technology. More than progress, breakthroughs depend on it. A virtually unlimited conceptual hybridization from dramatically distinct knowledge fields is markedly attainable in the present day through use of an art we experience as growingly immaterial and distributed. As claimed by Roy Ascott (2006), the deep significance of this experience is only achieved when a sort of technological intermingling dissolves artwork and observer into a moistmedia that takes the form of a hybrid conscious body. Would the same be true for science?

In addressing this question, a first step is to recognize that there is more to the scientific process of thinking and creative conception than mere cognition (as defined by neuroscience); it also parallels artistic processes. Importantly, both artists and scientists operate at levels of subjacent realities. What would be the implications to scientific practice if, instead of romantic, essentially subjective, speculative guesses, we prove scientifically that subjective processes potentiate science? The present article proclaims the centrality of this question as a transforming demand to contemporary neuroscience. Moreover, it reverberates Roy Ascott’s proposition of the brain as an access system – a ‘moistmedia informer’.

In this article, hybrid artsci labs are proposed as systems that favour aesthetic rapture at different stages of scientific practices. A conceptualization of scientific objects – either material or immaterial – in contemporary art is central in this model. Artsci labs are essentially conceived as providing for interdigitating scientific, artistic and brain technological paradigms, and the effects on cognitive handling through directly controlled technical evaluation is presented. Results from my lab give support to Ascott’s proposition of an art development informed by the brain. Moreover, the hybrid multimodal character of the artwork returns to science as a gain in abstraction, favouring the idea of contemporary art as a speculum of knowledge resonances, while potentiating intuitive conceptual reframing and associative thinking usually detected as insights.


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