Art and science: Convergence in the framework of complexity theory

Abstract

Given events in the arts and sciences since the creation of institutions like the MIT Media Lab in 1985, the experiments of artists like Eduardo Kac and Stelarc in the 1990s, the development of sci-art and neurohumanities and the proliferation of bioart laboratories in the early twenty-first century, I analyse how the randomness of the scientific method has been acknowledged as a unifying element for art and science, as two spheres of knowledge that share the production space of the laboratory. As Edgar Morin has pointed out, "a paradigm is invisible." Such interdisciplinary modalities are, perhaps, feeding into a third culture that we are still too blind to notice.