Prof. Dr. Jill Scott
Dr. Jill Scott is Professor for Art and Science Research in the Institute of Cultural Studies in the Arts, at the Zurich University of the Arts. Founder of the Artists-in- Labs Program and Vice Director of the Z-Node Ph.D. program on art and science at the University of Plymouth, UK.
Her artwork spans 38 years of media art production about the human body, behavior and body politics. More recently on neuroscience, ecology and sensory perception. Her most recent artworks involve the construction of interactive media and electronic sculptures.
Based on studies she has conducted in residence in neuroscience labs at the University of Zurich, called »Neuromedia«. Her publications with Springer include Neuromedia: Art and Science Research with Esther Stoeckli (2012), Transdiscourse 1: Mediated Environments (2011) and Artists-in-labs: Networking in the Margins (2011).
“Eskin 4 the visually impaired” is a trans-disciplinary platform that was created to enable visually impaired participants to become performers alongside their own ecological stories. It was a socially engaged project that amplified the voices of this specific local Durban community.
Under the direction of Jill Scott and the Swiss-based media-art team, a cross-modal interactive platform for creative interpretation was developed. This platform was inspired by current research in neuroscience and wearable computing. The media art team constructed a script based on the participant’s stories. And built a toolbox of three interactive technologies that ran in parallel on a mediated stage. They supported the visually impaired participants and their chorographers to be creative on this mediated stage. And to construct visual interpretations for a sighted audience. Watch here
Jellyeyes is a combination of interactive art, ecology, and neuroscience. It is an augmented reality experience. That gives viewers an insight into the evolution of our human eyes and our relationship to the eyes of the Australian box jellyfish and the squid (calamari).
Jellyeyes provides immersive interactions with co-evolution, structural evolution, and comparative evolution. The iPhone camera or the iPad Camera sees a photograph of the Barrier Reef in real-time and the viewer can explore words, images, films and sounds to reflect upon the evolution of vision and how it is related to symbiosis, movement, survival, and the environment. Read more
Jill Scott, combines inspiration from tactile and aural sensory perception. Auralroots consists of two hanging interactive sculptures.
Based on the functions and forms of the stereocilia, tiny hairs on the auditory cells of the inner ear in the cochlea. The viewers can use these to mix 54 soundtracks based on volume and harmonics. These tracks can be changed into low, medium and high pitch compositions by triggering animations and graphics on a touch screen. The low pitch composition features interior recordings from inside the womb with filtered sounds from the environment outside. In the mid-pitch range, aboriginal women’s stories about wild plants can be mixed with landscape sounds and in the high range, human scientific environments can be blended with experimental tests on human hearing. Read more
Read more: Jill Scott
Prof. Marille Hahne
Prof. Marille Hahne is a professor in Filmmaking. For 25 years she has been teaching at the Zurich University of the Arts (ZHdK) and is the director of their Master’s education program. She also lectured at the HFF, Munich and at the Goethe Institute, India.
Since 1983, she has directed documentaries in Germany, the US and Australia. Hahne now specializes in films about Art and Science Collaborations (AIL Productions and Neuromedia).
Published works include: Courage to tell about yourself! Documentary study at the Zurich University of the Arts in DOCUMENTARY FILM School Projects Concepts, Editor: Edmund Ballhaus, Berlin 2013. Artists-in-labs: Networking on the edges of arts and sciences in: DASA scenography in exhibitions and museums V, moving spaces, Editor: Gerhard Kilger & Documentary Film as Research Analyzes in Artists’ Inlabs Processes of Inquiry, 2006, Springer Publishing Company, Vienna, Austria.
From 2000 to the present Marille Hahne directed documentaries about the engagement of artists and scientists.
These documentaries which cover artists encounters with different sciences, are available on Vimeo and also in the books about the Artists-in-Labs program. In these particular documentaries, she perfected a method of documenting Art and Science films called Cinema Sociology. This is a novel research mode of documentation. It was derived from a combination of sociology and non-narrative experimental film techniques.
The aim of this method is to interrogate the encounter between researchers in different disciplines so that the videos can then be used to compliment further transdisciplinary research. Views and opinions are composed so as to eliminate a narrator and to let the protagonists carry the narrative and the art and science debate forward.
Categories of recent films/documentaries
ARTISTS-IN-LABS OF LIFE SCIENCES
NEUROMEDIA & more available here
Two films about ESKIN for the visually impaired.
“ESKIN 4 the Visually Impaired” was created and performed at ISEA, the International Symposium of Performing Arts in Durban, Southafrica 2018 funded by ISEA and partners and Pro Helvetia, Switzerland.
The Making of ESKIN 4 (2018) Marille Hahne
The video (23 min) features the making of a dance performance with visually impaired participants. Using a newly created interactive audiovisual platform by the Swiss-based media-art team under the direction of media artist Jill Scott.
The choreographers were Thobile Maphanga/Lorin Sookool, the light designer/filmmaker Marille Hahne. In addition to real-time visual designer Andrew Quinn, the audio engineer Vanessa Barrera Giraldo, the system designer Andreas Schiffler. Produced by AIL Production Zürich, ISEA Durban, and the Mason Lincoln School Umlazi.
The Performance of ESKIN 4 (2018) Marille Hahne
The video (26 min) features a documentation of the 40 min long performance “ESKIN 4 the Visually Impaired”, held at the Natural Science Research Center in Durban.
Read more: Prof Marille Hahne
Prof. Dr. Jill Scott and Prof. Marille Hahne on Artists in residence benefits for artists:
Educational and experiential in nature
• Give media artists the opportunity to be immersed inside the culture of scientific research. In order to develop their interpretations and inspire their content.
• To allow media artists to have an idea of the scientific process. Actual “hands-on” access to solid raw materials, pertinent debates, and scientific tools.
• Allow artists to attend relevant lectures and conferences held by the scientists themselves.
• Encourage further collaboration between both parties including an extension of discourse and an exchange of research practices and methodologies.
Prof. Dr. Jill Scott and Prof. Marille Hahne on artists in residence benefits for scientists and scientific research:
Science to the Public
• Access to different approaches and points of view. About scientific research communication and how to bring science to the public in a novel (more) interpretative way.
• With the ability to see an experiment or problem from another perspective. Perhaps to think about building experiments and tools differently.
• To gain some insight into the world of contemporary art, aesthetic development and the semiotics of communication. That is used by artists in order to reach the general public.
• Allow for training in answering all those “why” questions from the artists as outsiders.
Prof. Dr. Jill Scott and Prof. Marille Hahne conclude that interactive media-art will be a catalyst to open up discourses about the ethical and social side of the CHIC research results and processes in the future.
Strategic objectives CHIC