Creative Incubators for a Common Culture

SS 2019


Startdatum: 21.05.2019
Enddatum: 21.05.2019
Dienstag: 18:00 - 20:00
21.05.2019, 18:00 Uhr


Prof. Dr. Jill Scott

Verantwortliche*r Professor*in

Prof. Burkhard Detzler


Aula der HBKsaar

Maximale Anzahl Teilnehmer*innen

keine Teilnahmebeschränkung








Prof. Dr. Jill Scott defines a creative incubator as a warm physical space and a psychological environment conductive to a growing collaboration between art and science practitioners and theorists. This incubator is an interspatial zone that encourages creative experiment building the sharing of findings through interactive, often disciplinary-specific technology combined with an increase in intuitive unspoken methods as well as “tacit” and “situated” knowhow-transfer (Polanyi 1958- Harding 2005). Scott uses scientific research alongside specific art examples from Australia and overseas to cross correlate the various roles of an incubator.  In neurobiology, an incubator is used to regulate temperature, air circulation, oxygen levels and humidity; controlling the conditions that can help a premature life to grow, change or survive, but in theoretical physics, it is a research factory of talents, one that contributes to the advancement of knowledge on matters such as the production of energy. However, an incubator also has feminist connotations: surrogate mothers for example, often regard their wombs as incubators in order to separate their maternal feelings from the offspring inside them, a perspective that underlines the dominance of the patriarchy. Also as Bruno Latour posits, there are the macro-connotations, like our catastrophic realities of the Anthropocene, which portray the whole earth as a giant incubator, one in which the humans are doing the warming! (Latour 2012). Scott’s version of the creative incubator incorporates all these interpretations, but foremost it is a space of mutual understanding for discussion and practice of not just new inventions and discoveries, but those matters which are unformed and in-process, difficult to describe even in the language of one’s “home” discipline. Certainly, as our “natural” environments become more complex and less sustainable, there is an increasing need to join a “commons network” where we can re-design representations of the “artificial” and collaborate on new “wet” experiments that explore how our sensory processes can cope with increasing complexity. What kind of artists and scientists are willing to blur Images conventional boundaries and familiar practices to participate in such creative incubators? As Scott suggests it is only those who can think critically AND laterally.