The fourth session of our Hybrid Innovation programme for Japanese industry was held at Nohara Lab on 29th November 2022. HI Creative Director Dr Giorgio Salani led the session with a lecture on Art Thinking in innovation practice and kickstarted the first of three HI Practice sessions focusing on group work. The staff team includes HI Director Professor Kayoko Nohara – who translated the content to Japanese – and Assistant Director Kohei Kanomata, who facilitated the discussion.
The first half of the session was occupied by a conversation around two key points raised in previous sessions that were wort exploring in more depth: what do we mean by Art Thinking? And, what techniques and notions of Art Thinking can be beneficial in a business context? The lecture in English by Dr Giorgio Salani (Tokyo Tech) employed examples from Western art history to explore fundamental differences between art, science and other practices. For example, an installation by the artists Christo and Jean Claude was introduced to point out the sharp difference in the goals of fine artists, designers and engineers, even when they are working on the same structure and follow a strict design methodology to implement their work. Similarly inspired by various artworks by famous figures in the Western canon, distinctions were raised between rational, logical and even alogical thinking in multiple fields. Other examples include the contrasting role ambiguity plays in the arts and in science, the distinction between “sense-making” and “decision making”, and the importance of reflexivity in art practice (in common with the social sciences).
The lecture also pointed out the difference between purely Art Thinking-based innovation platforms and Tokyo Tech’s Hybrid Innovation approach, which integrates lessons from Art Thinking into a transdisciplinary method. The theories debated in the first half directly informed the practical exercises that were later assigned to the participants. In particular, intuitive sketching offered means to connect with individual goals and specific expertise that each participant was bringing to the group work. Making personal interests and intentions apparent in visual form was used to negotiate the splitting of the team into groups, who will carry over multiple sessions and complete the assignment for the HI Practice together. Informed by transdisciplinary interactive exercises, each group will develop an “intervention” to tackle issues around an assigned broad theme. This can take the form of products, services, artworks or visual representations that can range from fully working models to more speculative/evocative work, in either digital or physical form. The participants started the ideation phase with sketching assignments intended to generate quick and varied ideas without any form of self-censorship. These will be taken on in the next few sessions and will eventually coalesce into the final proposals. The results will be amply discussed in the final sessions using a mixed art/science approach, and presented to the public in the HI Symposium to be held in April 2023 (exact date TBC).
The next session of the HI programme will be held on 13th November December and will see the participation of Dr Betti Marenko, a design theorist and philosopher from Central Saint Martins college, University of the Arts London. The event will be held in person at Tokyo Tech, with an interactive workshop held in English and translated simultaneously into Japanese.
Activity period: October 2022 to April 2023
PROGRAMME CONTENT: Seminars, workshops, manufacturing, experiments, creative community activities, etc. that flexibly use face-to-face and online. A final symposium – open to participating companies and the public – is scheduled for April 2023.
2022年11月15日、産学連携ハイブリッド・イノベーションプログラム第3回セッションを開催しました。今回は東工大特任教授であるネイサン・コーエン博士が、演習とディスカッションをリード。コーエン博士はロンドン芸術大学セントラル・セント・マーチンズ校のMA Art/Scienceの元コースリーダーであり、アーティスト兼研究・教育者です。共著にThe Art of Scienceがあり、この本で、時代を超えて我々の文化を形成してきたアーティストと科学者の作品群を紹介しています。またスタッフチームとして、HIディレクターの野原佳代子教授、HIクリアイティブディレクターのジョルジョ・サラニ助教、アシスタントディレクターの鹿又亘平氏が入りました。
The third session of our Hybrid Innovation programme for Japanese industry was held at Nohara Lab on 15th November 2022. Tokyo Tech’s Visiting Professor Dr. Nathan Cohen led the activities and the discussion, alongside HI Director Prof. Kayoko Nohara and HI Assistant Director, Kohei Kanomata. Dr. Cohen is an artist, educator and researcher, and the former Course Leader of the MA Art/Science at Central Saint Martins college, University of the Arts London. He is a co-author of “The Art of Science”, an illustrated selection of works by artist-scientists that shaped our cultures over the ages.
Participants attended in person whilst Dr. Cohen joined us from the UK on zoom, assisted by a simultaneous translation service provided by NHK. This was a very practical session with no central lecture but 3 exercises designed to facilitate a discussion about differences and overlaps between artistic and scientific approaches to creativity and innovation. After some warm-up questions about the perception of art vs. science among the participants, a series of captivating images were shown and discussed. These included less familiar works of art from the distant and recent past, from mysterious ethnic and prehistoric art to more contemporary works, and Dr. Cohen’s own artwork. Questions were raised about the artists’ intentions and methods of making, with educated guesses shared by the participants. Without prior knowledge some images looked alien and hard to decipher, but even more well-known artworks were often made with techniques and materials unfamiliar to the session’s participants. This stimulated an initial exchange about the goals of art and its role in societies across the globe. What is the purpose for which the art was created? What is its social role?
After a short break, the participants were split in groups and assigned a practical task. Each group had one hour to build a bridge of 1.2m span, to be constructed between 2 tables using only bamboo sticks, elastic bands and coloured ribbon. The results would be judged both in terms of technical features such as strength and aesthetics. Early on, all groups engaged in discussions aided by sketches of bridge designs on paper, and gradually moved on to checking the materials and testing solutions. Multiple ways of joining sticks were possible and this gave options and variety to the project. The exercise was engaging and all groups focused closely on their tasks, splitting labour among them and progressing fast. The all managed to finish on time and the results were assessed by Dr. Cohen and everyone in the room, collectively. Books were used to test the strengths of the structures and everyone voted for their preferred solution. The groups also introduced the motivation behind the different designed and these were sometimes insightful and not immediately obvious. The conclusion we all drew from the activity and the discussion was that the technical features and aesthetics of the bridges could be thought of separately but in reality they were largely intertwined and the winning bridge was judge by most to be both the stronger and the best looking.
At the end of the session, we reflected again on what it means to be artistic, in the light of what it means to be scientific. In particular, when we say that ‘science is rational’, what does that mean? How does it differ from ‘rationalisation’ in business? What is the rationality to be found in art? Where are the standards of aesthetics to be found? … and so the discussion goes on. We are thus on the path to exploring the fusion of science and art.
Session 4 of the HI programme will be held on 29th November and will focus on various techniques to facilitate the divergence in creativity, at the start of the ideation phase. Group work to start in Session 4 will be undertaken by the participants across various sessions to exemplify an innovation cycle based on HI theory and practice. The results will be amply discussed in the final sessions and presented to the public in the HI Symposium to be held in April 2023 (exact date TBC).
Activity period: October 2022 to April 2023PROGRAMME CONTENT: Seminars, workshops, manufacturing, experiments, creative community activities, etc. that flexibly use face-to-face and online. A final symposium – open to participating companies and the public – is scheduled for April 2023.
11月1日（火）、産学協働プログラム「ハイブリッド・イノベーション」第2回目を実施しました。今回は「科学技術最前線」として、STADHI－Science and Technology x Art and Design Hybrid Innovation ーのメンバーでもある東工大物質理工学院の須佐匡裕教授が登場、金属工学のスペシャリストです。鉄鋼の製造工程と歴史、そしてカーボンニュートラルな未来を目指す上でのグローバルな課題について講義をいただきました。今日のゴールは、革新的な製品やサービスを生み出す、あるいは改善するソリューションの「オルタナティブ」としての「プロセス・イノベーション」に目を向けること、そしてあらためて「科学的であること」の特徴を見直し、そこから何を学ぶことができるか、いろいろな方法を議論することでした。「サイエンスと工学」にちなんで参加者全員が白衣を着用し、その思考と文化、モード（形式、スタイル）をシミュレートしてみました。いつもと違う風景に、自分の中の何かがとぎすまされた、という感想も飛び出しました。
The second session of our Hybrid Innovation programme for industry was held on 1st November at Nohara Lab. This in-person event saw the contribution of Prof. Masahiro Susa from the School of Materials and Chemical Technology, who introduced the participants to the process and challenges of manufacturing steel. He gave a lecture on the manufacturing process and history of steel, and global challenges in moving towards a carbon-neutral future. The session aimed to inspire a discussion on “process innovation” as an alternative source of innovative solutions for generating or improving products and services, and reflect on a “scientific” approach to innovation. To embrace the S&T theme of the day, all participants were asked to wear white lab coats for the entire afternoon.
The process of making materials for steel includes the sintering process, in which powdered ore, lime and coke are mixed and baked to harden them; the process of making crude iron (or “pig iron”), the material for steel, in a blast furnace; and the process of pig iron entering a converter furnace to become steel… Unlike the vague image people have of ‘iron’, the composition and shape of iron changes depending on the process at each stage, and is transformed with different properties. The main theme of the conference was a zero-carbon society and the search for a pathway to steelmaking that realises this, with the major ‘question’ being how the steel manufacturing process can be changed towards decarbonisation, and the trial-and-error approach to cutting-edge innovation was discussed. Questions were actively raised, one after another, from companies in industries that use steel in their daily operations, as well as from those that do not.
Professor Kayoko Nohara then used post-its to check what each participant had grasped from the lecture they had just heard, and what messages they had received from this science communication. What the participants grasped varied from scientific events and information, to unconscious evaluations of them, to the sublimation of them into something more personal and of interest to them. Furthermore, what are scientific and technological methods and thinking, what is their potential for creativity… and their potential for application to more universal process innovation were examined.
Next, using techniques of Art Foundation studies, the participants were asked to discuss the topic of ‘steel towers’ in groups while blindfolded. With no reliance on sight, the participants shared their knowledge and senses. Creative translation extended from the types and functions of steel towers, such as Tokyo Tower, base stations, electricity and carrying radio waves, to associations such as “the tower looks good at sunset” and “towers owned by major companies usually have Yuru-kyara characters…”.
The final activity involved working in groups of three and making artefact using coloured clay. Individuals were first given 5 minutes to create a miniature frying pan using one tub of clay, in whichever method they preferred. In the second round, one participant per group had to explain and show how to make the same object his or her way. The other two participants should follow visual and oral instructions and replicate both shape and actions. An additional rule was introduced, forcing all groups to standardise their output. The next two rounds saw the same dynamic in the groups, with alternate participants instructing others while also observing newly introduced rules. Finally, all members had to individually create the frying pan by choosing their own methods, as they did at the start. The exercise provided a context in which the relationship between skill, knowledge, process and design were all made evident. The experience inspired a rich discussion on the difference of various techniques and the results highlighted the crucial role manufacturing processes can play in realising designs. After discussing impressions from the direct experience with clay, the conversation moved to more abstract associations with manufacturing, internal policies and communication within companies, and the ability to innovate processes (and/or designs) to accommodate ever-changing conditions.
The third session of the HI programme will be held on 15th November and will explore the theme of art/science with a guest lecturer from the UK (simultaneous translation will be provided).
Activity period: October 2022 to April 2023
PROGRAMME CONTENT: Seminars, workshops, manufacturing, experiments, creative community activities, etc. that flexibly use face-to-face and online. A final symposium – open to participating companies and the public – is scheduled for April 2023. Read our previous post on Session 1 here. For info please contact: tokyotechxcsm@tse.ens.titech.ac.jp
The Tokyo Institute of Technology are hosting a “Hybrid Innovation” programme for key industrial partners for the second year. The programme is held at Nohara Lab, School of Environment and Society, at the Ookayama Campus in central Tokyo. The sessions are developed in collaboration with Central Saint Martins College of the Arts London (CSM).
In this program, companies embody the process to Hybrid Innovation. This merges “multi-communication” to transcend disciplinary boundary, promote the fusion of knowledge and change mindsets. The programme also aims stimulate innovative strategies in each participating company.
The first session of Year 2 was held on Tuesday 18th September 2022. Attendees from the six participating companies engaged in a short lecture, discussions and workshops facilitated by Prof. Kayoko Nohara and supported by selected graduate students. After briefly introducing the concept of “hybrid innovation” in relation to the overall programme, the participants engaged in an active discussion around the theory and practice of “innovation” as perceived individually and communicated by their respective companies. In line with the transdisciplinary approach driving the programme, Prof. Nohara employed linguistic strategies to facilitate the conversation and complement the answers collected on a whiteboard wall.
The discussion was followed by an extensive exercise in visual communication using Lego, which was used to observe and comment on communication and leadership strategies within and between the groups. Participants were invited to continue the discussion and network among each other in the friendly environment created by Nohara Lab at Tokyo Tech.
Activity period: October 2022 to April 2023
PROGRAMME CONTENT: Seminars, workshops, manufacturing, experiments, creative community activities, etc. that flexibly use face-to-face and online. A final symposium – open to participating companies and the public – is scheduled for April 2023.
The ON The BorderLINE exhibition was held at Shibuya QWS, Tokyo, on 25-28 February 2021. In this post, the participants of this first student-led project of the STADHI Satellite Lab at Tokyo Tech reflect on the experience of creating artworks and share lessons learned from the event.
“I chose this lab because it was called Science & Art Lab,” Masamune Kawasaki, the 2nd year master’s student of the Engineering Sciences and Design course who directed the event, talked about his motivation in organizing the exhibition. After gaining experience in creating artworks and managing exhibitions outside the university in the previous year, he led the team of students from Nohara laboratory of the Transdisciplinary Science and Engineering Department at Tokyo Tech. “[…] I thought we could do it, so I suggested holding it at Tokyo Tech.”
The exhibition space in Shibuya QWS (Credits: Kazuyoshi Natada)
The student-centered event was partly supported by the Tokyo Tech World Research Hub Initiative (WRHI) through a programme that aims to integrate science/technology with art/design. Visitors were invited to experience the feeling of standing on various overlooked borderlines by engaging with a total of nine works purposefully made by nine students. Acting as both artists and management staff, the students carried out the project mostly online. The exhibition itself was held face-to-face in February 2021 under strict preventive measures put in place against COVID-19 infection in Tokyo. Despite the situation, more than 160 people visited the space and many expressed a great interest. Reflecting on the event here, some students share their honest views on the experience of holding the exhibition.
CONCEPT TRANSLATION
“Although before creating I thought it seemed too difficult, it was not difficult to create when I started.”
ON The BorderLINE was born from the urge to re-examine various ‘borders’ in the current uncertain and chaotic modern times. Trying to capture their own unique ‘borderline’ perspective, each artist translated it into exhibits. Utilizing their knowledge and field of expertise from studying at Tokyo Tech, each also aimed to achieve certain individual aspirations.
“I was trying to capture my feelings towards science and technology,” said Chihiro Wada about her work entitled 8.6.8.15. Her artwork stemmed from her research at Tokyo Tech as a 2nd year Doctoral student with a specialization in gender studies. Her knowledge of cultural signs and text helped in the creation of the artwork: “I tried to evoke a culturally general mental reaction towards the work while at the same time trying to create a confusing effect to stimulate people’s interpretation.” Her final piece resembled mushroom clouds in black and white, which was intended to create an ambiguous, unstable and indescribable psychological landscape. While the making process was relatively simple, she felt that deciding on the final design of the work was a major challenge.
Some visitors shared their impressions of the artworks on a board purposefully prepared for the occasion. Their comments reflect thoughts born after interacting with the students during the exhibition. “I realized that the ‘white feelings’ are not always ‘pure white’ […],” was mentioned after understanding the detail behind color used in the 8.6.8.15. Chihiro Wada was filled with awe by new and interesting interpretations of her work. “Through hearing their comments, I also re-interpreted my artwork,” she stated.
Concept photo of 8.6.8.15 (Credit: Chihiro Wada)
Rei Sato, a 2nd year Master student of the Global Engineering for Development, Environment, and Society (GEDES) course, was inspired by a London-based quantum music project for his 複雑系の音色/Complex Network Tones. “I tried to create state-of-the-art artworks based on science (physics research) and art (music), which is a completely new concept all over the world.” Based on previous studies, he tried to implement the algorithm from scratch and developed the programming by himself to create an original music piece. A visitor asked, paraphrasing the artist: “So this is the sound of this (natural) world?”. Sato reflected on his participation in the show, “Although before creating, I thought it seemed too difficult, it was not difficult to create when I started”. One of the challenges that required much effort was to visually present his non-tangible work through a digital visualization of the music.
Rei Sato explaining his Complex Network Tones (Credit: Masamune Kawasaki)
In her Your Touch Makes Me Fragrant, Yuke Wang, 2nd year Master’s student of the Engineering Sciences and Design course, applied her theoretical olfactory research to interaction design. “I want to let people think about the relationship between humans and man-made things,” she said. Her interactive installation gave out an aroma when touched. She described the aroma as a metaphor for emotion and attachment. “Attachment makes artificial things emotional and special.” On a practical level, she especially pointed out how her technical background helped her in solving the problems she met in the making process.
The students spent months ‘translating’ their concepts into artworks, by sharing and discussing among each other while at the same time progressing with the overall event plan. Several WRHI members served as advisors, including Heather Barnett from Central Saint Martins, University of the Arts London, and Prof. Masahiko Hara and Dr. Giorgio Salani from Tokyo Tech. From them, the students received valuable feedback, technical hints to solve any bottlenecks, and overall guidance in materializing their ideas.
COMMUNICATING THOUGHT
“Through hearing their comments, I also re-interpreted my artwork.”
During the event, visitors could enjoy the exhibits while interacting with the students at the space. Serving as hall staff, the students were ready to explain each artwork to the visitors. Sometimes the talks went beyond simple explanations of individual works and reached a re-questioning of various underlying concepts and thoughts.
“Although I think my idea was easy to understand, there were still many in the audience who did not understand the concept until I explained it to them,” said Yamei, who was in her 2nd year of the Engineering Sciences and Design master course. Her piece, 私たちの間/ Border Between Us, was a clay sculpture based on the concept of the ever-present border of communication. While she was comfortable to be totally free in expressing herself, she felt insecure at the same time. Without a proper background in art, she wondered how far she managed to successfully convey her message. However, comments from visitors helped her become more confident. “Oh, although it sounds sad that we cannot truly understand each other, the relationship between us is still warm just like your work shows,” was one of the meaningful responses she received from visitors. “I suppose that most of them (visitors) did feel it (the message).”
The sculpture “Border Between Us” by Yamei (Credits: Yamei)
“[…] I am very glad I could have chance to apply the science communication theory I learned at Nohara laboratory,” Farah Fauzia, a 1st year Master student of GEDES course commented. Her work 社会apparatus/Society Apparatus was meant to convey the message that ‘it is fine to preserve our own color’ through unmixed colorful liquids inside laboratory vessels. Originally graduated from Chemical Engineering major before coming to Tokyo Tech, she tried to give a simple explanation of the scientific reason why the liquids could not get mixed to the visitors. “[I] wondered if there is also something in society that plays the role of surfactants,” one of the visitors commented on the work by using the technical term mentioned by the artists during the explanation. “I learned how to interact with visitors, especially using simple language […],” Fauzia reflected. Another memorable comment from some foreign-national visitors was: “They said they can relate to the concept. It (this artwork) was rather a ‘brave’ message to the Japanese society that was possible probably because of our diverse background.”
The numerous visitors to the exhibition included students, researchers, designers, creators, journalists, and business people. Some were foreign nationals, who enjoyed talking with students using a language other than Japanese. “I thought I had to prepare my business card and portfolio…” one of the students admitted when asked what they would do differently next time.
Visitors left many comments for the artists (Credit: Masamune Kawasaki)
LESSON LEARNED
“I learned that we had to pass lots of processes to exhibit artworks.”
“Attending the exhibition is not only about creating a fine work,” Rei Sato reflected. “[…] I think most of us did not consider them at all at first.” Most members of the 9-strong team acted as both artists and management staff for this exhibition and struggled to find a balance between working on personal pieces and planning the event. “I learned that we had to pass lots of processes to exhibit artworks,” one stated. Most students identified time management as the most challenging aspect of the whole experience. “It was truly hard work,” Masamune Kawasaki – who led the team – admitted during the final evaluation meeting.
The artists also served as staff during the event (Credits: Yuke Wang)
Under the COVID-19 infection risk, they needed to figure out how to smoothly carry out most of the production work online. For example, the team relied on the virtual layout of Shibuya QWS Playground to design the exhibition floor—since only limited people could visit the place during the preparation phase, and some trouble arose on the spot. “[…] You should leave enough time to test and adjust it in the exhibition space,” Yuke Wang reflected on her experience of taking long a time to find and fix a problem with her interactive installation that did not work well after its installation. “[…] Anything could happen during the exhibition time,” Farah Fauzia added, “It was very important to stay aware of overall exhibition space so we could respond swiftly.”
Another voiced a different opinion, “I think the most difficult part is generating good ideas”. The students spent months shaping their concepts into exhibits and went through a process of problem finding and solving in expressing their ideas. Chihiro Wada explored different ideas before finally settling on her [8.6.8.15] work. “I just kept thinking and thinking through creating my piece. It was a lot of work, but I believed it was necessary to the current me,” she explained.
When asked whether making the artwork helped them become a better researcher, some students were unconvinced. “I am not sure that they are related but […] I think it makes me better person,” Yamei expressed. Yuke Wang, who produced two pieces for the exhibition, pointed out the difference between the two activities: “Doing research is trying to figure out “why” and trying to express clearly to let other people understand. No ambiguity. But making artwork is more about expressing yourself. And different people can have different understanding of your artwork. There can be ambiguity.” However, most of them also agree that there are similarities between artwork production and research activities. “I think the process of finding a question and solving it is similar,” Wang said. “It was practically a trial and error, or experiments,” another added. “By not giving up and facing the challenge, we will equip ourselves with the necessary skills to become a good researcher,” Fauzia argued.
“I just kept thinking and thinking through creating my piece. It was a lot of work, but I believed it was necessary to the current me.”
FINAL REFLECTION, FUTURE THOUGHT
The students also shared personal impressions on their own pieces. “I like the texture and delicacy of my piece,” one of them honestly said. While others also stated they like their own pieces in terms of idea and quality, some felt not quite satisfied, “if I have more time, I can make them better.” Another student also added, “Next time, I would like […] to enhance the impact and message of the artwork.”
Some enjoyed receiving feedback and wanted to enable more interaction with the audience. “This experience is priceless,” one of the students summarized. For another student, through talking with various people with various background, one can also sell his/her own name. “This experience gives us a wide view not only of our artwork but also trigger future plans,” Rei Sato stated.
Visitors in the exhibition space (Credits: Farah Fauzia)
If there were opportunities in the future, all the students involved in the show agreed they would love to make artwork again. “Of course. I always have [a] strong desire of creating something,” Yamei eagerly stated. “I feel I need to express my thoughts not only through academic articles but also through art,” Chihiro Wada added. Another student also mentioned that this kind of experience is something that she probably could not easily come across in the future.
On the final evaluation meeting, event producer and director Masamune Kawasaki said he was glad this time there were some members who said they would want to experience the process again, “I think it was a good thing. We have experienced it once so we should be able to proceed more smoothly next time.” As all concerning issues (especially on the management side) were being evaluated, he hopes the event can be held annually. “We should collaborate with other universities,” one argued. During the event, some visitors from the architecture and literature department of another university came to talk about the overall exhibition with great interest. “It would be interesting to collaborate with them,” Kawasaki agreed.
He also pointed out his opinion that there might be something that can only be possible to be produced here in ScienceXArt Nohara Laboratory. “Unlike other laboratories, each individual has [a] different specialty, so the output will be different.” Different from art colleges who usually have a decided fixed output, university students (especially in non-art related majors) attempting to make artworks from original concepts may introduce interesting scientific innovations.
“This experience is priceless.”
Borrowing Prof. Kayoko Nohara’s words, through this exhibition, the Tokyo Tech students who specialize in science and technology have been trying to communicate with audience in a way that differ from your usual language. By integrating science/technology with art/design, they tried to explore media and tools that can capture the potential behind the organized chaos of the borderline. Reflecting on the experiences, they hoped the baton could be passed on to invite more audiences visiting whole new perspectives in future events.
Written by Farah Fauzia, based on an interview by Dr. Giorgio Salani. Edited by Giorgio Salani.
Contributor: Chihiro Wada, Yuke Wang, Rei Sato, Farah Fauzia, Yamei
また、Science x Artラボである野原研究室でしか作れないものがあるかもしれないという観客からの反応もありました。このイベントでは、科学・技術を専門とする東工大生たちが、いつもの言葉ではない形で、コミュニケーションを図ろうとしています。科学・技術をアート・デザインと統合することにより、彼らは境界線の組織化された混沌の背後にある可能性を受けとめ発信できるメディアとツールを探求しようとしました。
“ON the border LINE” was an exhibition based on re-examination of “border” in the current uncertain and chaotic modern times. Boundaries divide anything into two: this is science, this is not science; this is art, this is not art; this is seeing, this is hearing. What about the border itself? Much ambiguity is expected where boundaries are drawn. Students from the Dept. of Transdisciplinary Science and Engineering at Tokyo Tech explored and translated this concept into exhibits, and invited visitors to take a look at the world from various borderline perspectives.”
The exhibition was held on 25-28 February 2021 at the Playground of Shibuya Scramble Square QWS in Tokyo. Despite strict preventive measures put in place against COVID-19 infection, more than 160 people visited the space during the 4-day face-to-face exhibition. The project aimed to re-frame various ambiguous boundaries in modern times under the current disarrayed global condition.
In 2020, our ‘normal’ everyday activities were suddenly disrupted by the spread of COVID-19. Since then, human life has been significantly affected. Countless visible borders, such as masks and social distancing, have become indispensable. At the same time, the ‘new normal’ has redefined various views of the world. However, amidst these uncertainties and disorder, there must be something that can only be captured at this very moment. Based on this feeling, this exhibition was held to invite visitors to experience the feeling of standing on various overlooked borderlines.
The show was directed by Masamune Kawasaki, 2nd year Master’s student of the Engineering Sciences and Design course. A total of nine works from Tokyo Tech students were exhibited.
Making use of knowledge from his field of interest – physics research – Rei Sato brought the visitors to listen to his mysterious ‘quantum music’. Referring to music that operates in quantum mechanic ways, quantum music has been recently recognized as a new music technology mainly in Western Europe. These tones enabled visitors to hear previously unperceived quantum interaction through music. This works as a border that connects people and complex systems.
Using a black and white theme, Chihiro Wada expressed her personal view of science and technology. The title represents the atomic bombing that happened on August 6, 1945 at 8:15 in her hometown of Hiroshima, which was also the birth of her complex feelings toward science. Specializing in the field of Gender Studies of Humanities, her view toward science and technology gradually changed after enrolling in Tokyo Tech, a concept she tried to convey through this work.
Through this ‘cyber flower’ interactive installation, Yuke Wang tried to explore the relationship between humans and artificial things. The ‘dead’ flower would become ‘alive’ with emotion and give out fragrance just like a real flower when coming in contact with a human. Having been working on olfactory research, Yuke Wang designed this artificial flower to give out a rose scent after being directly touched by the visitors.
“Border Between Us (私たちの間)” by Yamei
“I can watch this forever…” (impression from anonymous visitor)
“Border Between Us (私たちの間)” by Yamei, BACK (Photo credit: artist)
“Border Between Us (私たちの間)” by Yamei, FRONT (Photo credit: artist)
This sculpture work represented a mass of ‘love’, which exists with an unfilled gap. Through this work, Yamei expressed how ‘words’ are an important element in building relationships between people. The various expressions of love written on this work represent any means for people to express and listen, in the effort to understand and be understood. While the gap–border of communication exists forever, people are still yearning to build ‘love’ between them.
“I didn’t know that just by having something else replaced your own face, your mind could be affected this much.” (impression from anonymous visitor)
“Face Myself” by Ayano Nagata (Photo credit: artist)
Inspired by the mask that has become part of everyday life during the Coronavirus pandemic, this interactive installation was designed as a ‘mirror’ that can show different ‘faces’ of oneself. Through this work, Ayano Nagata tried to realize the desire of ‘choosing body and fashion that can express one’s personality without being bound by natural body’ in the future. In this AR-based installation, visitors could have their face replaced by non-human avatars while still wearing masks.
Making use of knowledge in Chemistry from her Chemical Engineering background, Farah Fauzia wanted to deliver the beauty of ‘layers’ that form in society. Through this colorful installation, visitors could directly see how various liquids would not blend even if they were mixed together due to their different characteristics. With this demonstration, she tried to convey her opinion that it should be fine to stay true to our own ‘color’ in society.
By following the hundreds of photos taken along the journey from Tokyo Tech to the Shibuya QWS venue that were displayed on the floor of exhibition hall, Wang Hezheng invited the visitors to re-discover the beauty of the inconspicuous scenery in daily life. Graduated from Architecture studies, she transformed the everyday landscape into novel scenery by noticing the ‘boundary line’ that divide the materials, colors, and spaces and let visitors to enjoy new perspectives.
This work expressed two systems – open and closed – using the flow of water. Tomohiro Ichikawa wanted to convey his view that current society – in chaos due to forces such as capitalism and the Coronavirus pandemic, has divided people into independent subjects. Having major interest in Psychology research, he tried to re-question the whole situation by positioning the ‘subject’ from different point of view together with the visitors.
Using Kintsugi (金継ぎ) to connect traditional ceramic vessels and modern plastic cups, Kato and Wang tried to question the value of new things. As human lives become more efficient, some value is added but some is lost when things become more convenient. Is it evolution, or is it erosion? The set of new things born from different value aimed to ask such question to the visitors.
AA
During the exhibition, visitors from diverse background could enjoy the exhibits while interacting with the students from Tokyo Tech. The communication went beyond the simple explanation of their works, and reached a phase of re-questioning of various concepts and thoughts. Among the most notable impressions from the visitors, some pointed out how the concept from each exhibit managed to be conveyed in an easy-to-understand manner compared with the usual art exhibitions. This was probably made possible due to integration of science and art as basis for the show.
This event is the first student-centered project conducted as part of the Satellite Lab STADHI of Tokyo Tech World Research Hub Initiative (WRHI), which aims to integrate science/technology with art/design and is organized by Nohara laboratory led by Prof. Kayoko Nohara. Among the supporters, Prof. Masahiko Hara and Dr. Giorgio Salani from Tokyo Tech acted as technical advisors, with Dr. Heather Barnett from Central Saint Martins, University Arts London, as honorary advisor.
The artists and organisers of the exhibition (Photo credit: G. Salani)
Written by Farah Fauzia
「ON the borderLINE」は、先の見えない混沌とした現代における「境界：Border」を見つめ直すことに基づく展覧会でした。境界は物事を二分します。これはサイエンス、これはサイエンスではない/これはアート、これはアートではない。しかし境界線上はどうでしょうか。きっと、多くのあいまいさからどっちつかずの混沌とした世界が広がっています。東京工業大学の融合理工学系の学生たちは、このコンセプトを調査して展示に変換し、観客たちをさまざまな境界線上で世界を見ることに誘いました。
The Hacking Heart hackathon was held at Central Saint Martins, London, UK, on 4-8 November 2019 (full programme here). Prof. Nohara and the team reflected on the interdisciplinary exchanges performed during their weeklong project.
Illustration by Libby Morrell
“After day one I was a bit overwhelmed by the presentations – there’s a lot to absorb”. Participants and organisers of the Hacking Heart hackathon sat down 10 days later to reflect on the event. The project was a weeklong experimental collaboration between scientists and Art & Design students, held on 4-8 November 2019 at Central Saint Martins college (CSM) in London, UK. The activities were designed to interrogate and reimagine contemporary scientific research centred on heart disease, energy harvesting and cellular sensing. Talking to the organisers Dr Heather Barnett and Dr Ulrike Oberlack, the students described the initial difficulties in accessing scientific language and content delivered by the scientists, “I had more one-on-one experience discussing the research with the scientists that cleared up a lot of misunderstandings… it helped with our research and planning before we went to discuss it with the scientists”. Researchers from the Tokyo Institute of Technology (Tokyo Tech) and Queen Mary University of London (Queen Mary) worked with the organisers and 12 students from across a range of postgraduate courses at CSM (MA Art and Science, MA Design Furniture, MA Graphic Communication Design, MA Industrial Design, MA Jewellery Design, and MA Performance Design and Practice). Over the course of the week, the workshops facilitated a fertile exchange of ideas between artists and scientists. Each of the three groups of students produced a performance, delivered to participants and members of the public in a symposium on the last day.
Initially, the event presented the typical difficulties of working collaboratively. “At the beginning we have a lot of ideas about the project, about the Hacking Hearts, how to show that, but, finally, we should give up some of them, some things are not very strong or some things not very connected, not very related”. The students learned to sacrifice some ideas to build up a clear outcome. “It was that phrase that consumed my mind: that a horse designed by committee could look like a camel”, the group laughed.
“It was that phrase that consumed my mind: that a horse designed by committee could look like a camel”
On the first day, the scientists shared their work in biotechnologies for the students to hack over the course of the week, ending with a public symposium on 8th November. Dr Thomas Iskratsch (Queen Mary) presented his research on biotechnological approaches for preventing and curing heart disease. Integrating biology with engineering, bioengineering solutions employ a combination of cells, signals and materials to create tissues outside the body that “will give us insights into disease processes, which in the future might aid design of novel drugs”. Dr Iskratsch researches the ways in which heart cells measure muscular stiffness by using simplified systems to investigate specific parameters in isolation, such as rigidity or shape. The students were invited to respond to his research and develop a “transdisciplinary translation” of its contents, as part of a wider effort to create a “third place bridging science/tech and art/design through communication”, as the organisers described.
The research discussed by Prof. Wataru Hijikata (Tokyo Tech) provided additional food for thought. His presentation gave a quick overview of his work on energy harvesting systems that can be implanted in the human body, such as those required to power artificial heart pumps. The students responded to this work by creating props for a performance built around the idea of natural and artificial heartbeats. This inspired a question about accuracy during the symposium’s Q&A, as according to the students, by engaging with scientific content artists can “try to accurately communicate [in a] very certain and interesting way to a wider public audience, or you can go down the route where you’re just using as a jumping-off point, something to interpret, something to inspire you”.
The experience also changed the scientists’ own perception of what could be possible through collaboration with artists. On a straightforward level, Hijikata had to censor the content of his presentation to avoid discussing ethically challenging methods, such as the use of animal testing in research. This triggered a sort of suspicion about scientific procedures but resulted in a positive artistic outcome. For the scientist, “some disturbances are necessary for making impressive emotional performances”. He admired the performance about the beating hearts, which showed the essence (if not the details) of his research had been received appropriately by the students. For him, the value of art lies in translating scientific information into emotions. He compared his experience of the performance with that of watching the Japanese martial art of Kendo, “you’re very close in that moment – there’s no distance”. This was a superb achievement for the students. “I think that a lot of artists would aspire to this”, the organisers noted.
By working with people with “different disciplinary knowledge, methods and mindsets”, the participants explored and reinterpreted social, ethical and philosophical dimensions of scientific research. In her role as Social Scientist in Residence at CSM, Prof. Nohara observed and reflected on the hybrid nature of those interactions. The team observed, “I guess the creative process generally goes through several phases of diversion, conversion, diversion, conversion, diversion, conversion. It’s sort of when you hit a problem, you then open it up and then have to close it down, and then you’ve got another problem”. The social dimension involved in collaborating with others can lead to the attempt to include all voices and “embrace everything”. But achieving a definite outcome requires some final convergence of views. This was compared to an artist’s creative process, embracing all ideas at the start only to reject, select and develop components later.
During the hackathon, thinking creatively was promoted by exercises such as exploring alternative meanings for the words used in the scientific presentations. “It was really interesting how we all had different kind of ideas about some of the words”, the students convened, pointing out differences in specialised knowledge and personal interests among the participants. “So, the strategy worked in inviting inspiration?”. A student confirmed, “I think that helped everyone open up and look at it a little bit more creatively [free] instead of just thinking in terms of […] how to interpret that research”.
“The ‘right’ is when you’re feeling connected enough to the artwork so that what you’re proposing has some sort of plausibility to it, but far enough away so that it is not a one-on-one translation”
The programme of events concluded on 8th November with a public symposium, during which the scientists presented their work to the audience and the students performed work created in response to the discussions held during the week-long activities. Four students entered the stage in the dark holding heart-like luminous objects while a projected video asked, “Can you distinguish between the different heartbeats? Healthy heart, unhealthy heart, pacemaker, artificial heart”. The audience was invited to participate in the performance and answer the question by beating different materials. Their active engagement surprised even the artists, “it was amazing that in one moment […] was interacting and it was very beautiful to see that”. This mimicked the contents of the presentation given by Prof. Hijikata but provided an alternative take on the issues.
Finally, the participants agreed on the importance of having a symposium at the end of the week, “I think that even though we know that there was no specific outcome required, there was – because of the symposium. I think without that, we may not have formulated pieces that were ready to show”. The participants appreciated the pressure given by the tight schedule and linked their productivity to it, “It wasn’t stressful. It was more trying to come up with creative solutions in order to get to a place where we were satisfied that the audience would have something somewhat finished to interpret”.
“So that was quite nice to go out of your comfort zone and I feel like I want to push that a bit further maybe in my own work”
Beyond the success of the project for the team and their audience, the experience left a mark on individual artists, e.g. inspiring further performative elements and using materials closer to those the scientists employ in their work. “So that was quite nice to go out of your comfort zone and I feel like I want to push that a bit further maybe in my own work”. The discussion concluded with positive remarks about continuing the collaboration with Dr Iskratsch, who is also based in London, and plans for a potential exhibition at the Science Museum to produce a physical body of work aside from the performances.
Prof. Kayoko Nohara acted as a panelist at the Value Creation Design Forum sponsored by the Institute of Industrial Science (IIS), The University of Tokyo.
Saturday, December 21, 2019 14: 00-19: 30 @ Shibuya QWS Scramble Hall
Programme – Part 1: Practice and systematization of design-driven engineering
Is a design that links engineering research and future society possible? How?
The speakers introduced recent practices and research cases by DLX Design Lab and discussed design methodology.
Speakers: Yuichi Washida (Hitotsubashi University), Kayoko Nohara (Tokyo Institute of Technology), Toshiki Shinno (The University of Tokyo), Miles Pennington (The University of Tokyo), Yukiko Matsunaga (The University of Tokyo), Mitsuru Muramatsu (The University of Tokyo), Midori Yamazaki (The University of Tokyo), Kensei Miyoshi (The University of Tokyo)
Programme – Part 2: Education for design-driven engineering
What kind of education is needed to develop professionals who can conduct design-driven engineering?
Experts in design engineering education from companies and universities were invited to discuss.
Speakers: Noriko Kamiyama (Dyson), Teruyuki Kaduchi (Osaka University of Arts), Keita Watanabe (Meiji University), Shunji Yamanaka (The University of Tokyo)
The Institute of Industrial Science (IIS), the University of Tokyo, is promoting “Value Creation Design (Design-Led X)” based on the concept of “value creation through a fusion of engineering and design perspectives”. We have rediscovered the value of engineering technology from the viewpoint of design and set this approach to give new goals to engineering research: we call it “design-driven engineering”. This is an attempt to significantly change the academic and artistic approaches that currently define this field.
Tokyo Institute of Technology Industry-Academia Collaborative Program
“Urban and Infrastructure in the 100-years of Life”
5th Workshop “Town”
Date: 19 December 2019
Time: 13：30～17：45
Venue: Tokyo Tech Ookayama Campus, Main Building, 3rd Meeting Room
Betti joined the debate and gave a speech as a commentator.
Her words which includes “to build better futures, you first need to imagine them” remains in us.
