Biloba laboratory, biLab investigates the search for new words between art and science. We can say that science, culture, society and art is our project.
Born from an institutional need of wider communication with the name of AreS, and shared with several scientists, including Alessandro Vespignani, Ciro Cattuto, Mario Rasetti, Daniela Paolotti, Corrado Gioannini, Yamir Moreno, it was originally created linking it to the event accompanying the Lagrange Prize ceremony, in an attempt to communicate the development of science through theatrical performances and modern dance.
The spreading of a plague, the functioning of the brain, game theory are some of the scientific researches translated and harmonized by artistic language.
Today the Ares Project becomes the Biloba laboratory, biLab.
Biloba, from the Latin bis and lobus, due to the shape of the leaves of the oldest tree on the planet, the gingko, but also of the brain whose two lobes are in charge one of rational functions, method, numbers, the other of intuition, perception, artistic creativity.
biLab braids into a single voice, with a variety of languages of art, the bravest visions of science, the themes of our contemporaneity, scientific rigor.
biLab creates around a topic of scientific relevance a working group of scientific representatives and people from the art world.
Each theme gives life to the succession of always different figures to broaden the possibility of exploration and formulate the best narrative.
Through tools such as writing, dance, theater, music and video-art we explore a new model of scientific dissemination.
The current project responded to a solicitation in some way induced by the pandemic, which has drawn on and also speculated on Science and on the figure of the scientist as well as on all of us, non-scientists, confused by definitions, distinctions, languages that have suddenly invaded our daily life, often overwhelming our comprehension.
This was the first reading key.
How is the figure of the scientist perceived? A sorcerer, a soothsayer, a shaman? What is his ethics in research, what the philosophy of his methods of approach which distinguish him from those, say, of a doctor?
We have imagined, as our starting point, the correspondence between an ordinary citizen, who experiences the anxieties and fears, has to face the questions that the disease poses, and a scientist to whom to ask those questions that torment us, the contradictions, at times apparently trivial, that emerge every day after having attended a television program for the deepening of the pandemic progress, but not only: what can be the role and meaning of artificial intelligence, which reverberates above all on the lifestyle of future generations and on the decision-making processes affecting the life of entire populations?
We chose the voice of a woman, and that of a man, a scientist.
Carteggio, an ancient name for a correspondence that looks towards the future.
The woman's voice is entrusted to a brilliant playwright who skillfully intertwines the anxieties of our time in her questions and discusses them with the scientist, in an attempt to shed light on a hoped for path of clarity and coherence, where the scientist responds himself to science and ethics, and together they progressively outline a bridge towards a possible future.
The epistolary dialogue of the Biloba Laboratory is hosted this month in the pages of "Editoriali di Class", the magazine of Classeditori that explores, tells and deepens the themes of digital transformation. A tale of innovation, its possibilities and its effects on daily life, which since the first issue hosts in the Editorials ideas of thought useful to read that «present future» that to be lived needs interpretative keys, of competence and vision. The Correspondence between prof. Mario Rasetti and Angela Dematté is an unprecedented and deeply human tool to address the great themes of this era of transformation.
L’umanista ha intravisto la possibilità di comprendere il reale senza paura, per dare una visione di libertà ai suoi figli.
Il carteggio indagherà il resto, in modo a volte sognante, a volte razionale, a volte problematico.
Lo scienziato può inventare il futuro, l’uomo del futuro, solo però se imparerà dall’umanista a sognarlo e a renderlo forte di valori inalienabili.
— M.Rasetti(... Quale accordo avranno trovato i banchi di pesci che si muovono come un'onda fluida in fondo al mare o gli stormi di uccelli che nel cielo urbano danzano un’aria astratta disegnando nuove eleganti geometrie ...) - Coordinamento Scientifico Mario Rasetti, Ciro Cattuto, Yamir Moreno; Regia Andrea Chiodi; Allestimento scenico Matteo Patrucco; Musiche Ferdinando Baroffio; Light Design Marco Grisa; Coreografia Elisabetta Consonni; Interpreti Marta Ciappina, Stefano Roveda.
(... vuole farci entrare nei processi e mostrarci i traguardi verso cui stiamo avanzando nello studio del cervello umano...) - Coordinamento Scientifico Mario Rasetti; Regia Andrea Chiodi; Allestimento scenico Matteo Patrucco; Musiche Ferdinando Baroffio; video Nikica Milicevic; Interprete Marta Ciappina.
“La Danza della Mente” è stata in replica a Roma National Geographic Festival delle Scienze il 12 aprile 2019 al Teatro Studio Borgna (Auditorium Parco della Musica).
(... oggi conosciamo il significato di pandemia e l’immagine del 1630 ci sembra meno lontana, ma...) - Coordinamento Scientifico Alessandro Vespignani; Drammaturgia Angela Dematté; Regia Andrea Chiodi; Allestimento scenico Matteo Patrucco; Musiche Ferdinando Baroffio; video Nikica Milicevic; Interpreti Christian La Rosa, Corrado Gioannini.
(... il nostro universo, fatto di specchi e suoni, in un processo percepibile con la vista anziché l’udito...) – Coordinamento Scientifico Ciro Cattuto; Allestimento scenico Matteo Patrucco in collaborazione con Todo Creative Agency; Interprete Emiliano Masala.