An interview with artist, animator and curator Lisa Roberts
I recently stumbled on the Living Data project and Lisa Roberts’ work when I saw her video interview by Dr. Simon Pockley at the 2013 Ultimo Science Festival, in Sydney, Australia September 2013. She said many of the same things I have experienced in my work with passionate environmental scientists - the language is impenetrable and the passion is lost when the research is published in academic texts. So what is to be done? As Lisa says, in making the animation Life! Death after speaking to the scientists and reading the research paper five times, she decided to go with the emotion of the research: devastation.
My interview with Lisa Roberts - October 7, 2013
AP: As an artist, how do
you approach collaborations with the scientific community? I.e. How do you get scientists
to trust that the work that is produced is part of a shift towards collective
LR: I have developed trust over years of working with particular scientists at the Australian Antarctic Division (AAD) in Tasmania and at the Climate Change Cluster (C3) at the University of Technology, Sydney. Embarking on the PhD was part of gaining that trust. As you may recall from your Masters study, academic research opens hearts and minds to fellow researchers.
Part of developing the trust of scientists was
to first read their papers and listen to
them deeply and pass by them any art, animation and writing I did in response. Only later was I trusted enough to share my skills to make sense of their
observations, such as the first
observation of the mating dance of krill.
AP: Do you have any stories / anecdotes of how the scientific (or public) has responded to your work on issues of climate change? Do you get a sense people see the bigger picture?
LR: I get a strong sense that most scientists see the bigger picture, despite their necessary focus on particulars, and that artists who have not worked with them mostly misunderstand science as a fragmented, uncreative practice.
Last year at the Sentinel Science meeting in Hobart I presented the animation Oceanic Living Data. Scientists recognized the animation as connecting climate changes happening in Antarctica to global climate change. The scientists then invited me to present the animation at the ATCM (Antarctic Treaty Consultative Meeting) the following week, to help convince international policy makers to continue legislation to protect the Antarctic environment.
Some artists visiting the recent Living data presentations in Sydney expressed their view that scientists are narrow and uncreative. For me the Hobart experience contradicts those claims.
AP: Living Data links with Lynchpin - can you say something about how these projects came to fruition? (was it after your 2002 trip to Antarctica?)
LR: It was only after working in
Antarctica (in 2002) that I became aware of the urgent need for action on climate change.
Living Data grew directly from my PhD, Antarctic Animation.
Living Data is evolving to reveal the nature of collaborations between scientists and artists, that result in new understandings of our identity as part of the world's evolution. I first heard of Lynchpin last year when it's co-ordinator, Sue Anderson, was directed to me by scientists I knew in Hobart. We discovered that we share a similar vision, to expand scientific understanding through the arts. Since early last year Sue and I have supported each other and our programs to engage people with climate change science.
AP: An Artist's work is often a response or an investigation into an issue, but with art-science collaborations, how do you approach / what is your experience with the collaboration as a truly two-way cultural production?
LR: Two-way knowledge production across disciplines happens when people know and trust each other. The big challenge is to find time and space for that to grow. I first found the space and time in Antarctica. I guess it's like finding a good relationship: Do what you value and you'll find someone else who shares your passion.