The conceptual strategies of approach between science and art: syntopy against the industry of images

Abstract

An essential feature of some practices of contemporary art is their striving for approach with science and the formation of a joint scientific-creative conceptual basis. This trend is implemented both "plastically" in works of art and institutionally in bringing science to the art space and vice versa, as well as in joint artistic and scientific events or creating of laboratories.

The closing-in with science is a conceptual strategy that some avant-garde art practitioners choose to withstand in this way against the "cultural industry" - the "industrial apparatus" for producing uniform, standardized works in the field of art. "Avant-garde" is understood here not as a "historical" avant-garde of the beginning of the 20th century, but as an "engine" in the field of art that opposes already established conventions, crystallization of forms, stagnation. The cultural industry seeks to stamp out forms, which already existed, seeks to "wash away" the original content out of them. Thus it creates space not for thought and feeling, but for economic exchange.

The avant-garde is the source of new signs of the plastic language relevant to the present. Choosing various strategies of "resistance" to the cultural industry, it generates new forms of art such as "syntopic collage." At the heart of this synthetic form lies the concept of "syntopy," developed by German scientists, including the neuroscientist, professor E. Peppel, who believes that in the field of interdisciplinary cooperation appear new forms of interaction, that open new prospects for both science and art.