Publications included in this section.
394 publications found
Knowledge is not static or unique. It can be exchanged between activists, academia and policy circles: from science to activism and from activism to science. Existing scientific knowledge is being used by activists to expose wrongdoings or improve practices and knowledge in environmental and health conflicts. Activists can either adopt scientific knowledge and data in their own argumentations or produce new scientific knowledge either by becoming scientists themselves or in co-operation with experts. Local and scientific knowledge is being combined to challenge government policies and the knowledge produced by corporate actors. Also explored is the figure of the expert-activist; with scientists becoming activists and vice versa, the boundaries between activists and scientists are increasingly blurry.
Science and activism are terms which are usually seen as quite separate. Yet, they are inextricably linked, even more so as techno scientific progress permeates contemporary society. The five commentaries in this series provide insights for a discussion about how the (apparent) separation between “value laden” activism and “value free” science is in fact very thin, and how science communication can play a key role in ensuring reflexivity and self criticism in science.
The validity of citizen science conducted by community activists is often questioned because of the overt values that activists bring to their investigations. But value judgments are a necessary part of even the best academic science, and scientists whose findings suggest the need for policy action can learn from the example of citizen scientists. Communicating clearly about value judgments in science would give the public a better basis for distinguishing between responsible and irresponsible research on controversial issues.
This commentary explores a traditionally supposed boundary between science and politics, with particular attention to activist scientists who engage in public communication. Work in fields like science and technology studies shows that framing this boundary in terms of epistemological rules fails. Boundaries dictating proper scientific activities are at best pragmatic, context-dependent, and fluid. Certainly, certain kinds of politics can undermine the integrity of scientific knowledge, but it is imperative to recognize that all science is political. As we see with activist climate scientists, certain scientific knowledge carries far-reaching political consequences. It is thus problematic to call for the “de-politicization” of science or science communication. A turn from epistemic to ethical concerns perhaps offers a more constructive way forward.
The organization and functioning of research have radically changed over the last 10 or 20 years, as a result of a determined political action. The activism of some scientists, during this period, has failed to significantly alter this trend. So far. Today, New Public Management is triumphant. It has been implemented by a category of former scientists who have become administrators, evaluators, organizers. As a result, the prime role of scientific publications is no longer to exchange scientific information but to allow a measure of scientific production, and to rank the principal investigators. Now, the massive use of numerical tools (impact factors, h index), allows policy makers and their collaborators to evaluate publications without reading them. In addition, researchers are told to work in a budgetarily stable system (or even a decreasing one), with internal dynamics that should make it increase exponentially. This has led to the development of precarious jobs. One day, this bubble will explode.
“I hope to offer a unique artistic perspective on a topic which is hidden from our everyday view” States my application. Will I be able to fulfil this task? Here is a short summary of my experiences as a visiting artist researcher
The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.
The notion of ‘artistic research’ is a buzzword in contemporary cultural policy, scientific and artistic discourses. This text is not trying to add another note to the polyphony of attempts to define the concept. Rather, it aims to trace and analyse some possible backgrounds of emergence, suggesting that the myriad of definitions and descriptions of artistic research is rooted in the most varying and to a point contradictory motivations.
Many climate scientists find themselves confronted with the challenge of purportedly “knowing better” — while this is a valid claim with respect to a small segment of reality, namely their narrow field of expertise, the public expectation often is that they know better about the “world’s problems”, and what to do about it, sometimes even with the rhetoric of “saving” the world. Artists may help in this situation by bringing forth different viewpoints, challenging hidden assumptions and suggesting surprising links; however, more often, the arts seem to be considered as a useful supporter in attempts to save the world. In the present project, however, the artists seem to have taken climate science mostly as a point of departure for their individual curiosity and joy of experimenting.
To observe art and science in interaction offered a great opportunity for me as cultural anthropologist to learn about the production of climate knowledge. Like ethnographers, artists entered the world of science, observed climate scientists and participated in their daily routines. They dissected elements of the scientific process and focused on science as a social practice. For scientists and artists, a process of “self-identification via the other” [Kramer, 1993] was set into motion. The artwork reflects this process by “mimicking” scientific procedures and by linking human sentiment and material sediments. Introducing the anthropological imagery of the trickster, I suggest that the project challenges a basic modern constitution — the separation of nature and culture — and brings the debate about climate change back into society.