摘要：Artistically and scientifically, we see potential for experimentation and discovery in the artefacts of physics – in bits of lab equipment, experimental results and theoretical models – for the creation of original works of art which may be worn as jewellery, or enjoyed as sculpture. Collaboratively, we are making, analysing and speculating within this art-science praxis as we transform lab junk into “Labpunk.” The 2014 national conference of Australian physicists, themed “The Art of Physics,” was the launch platform for Labpunk . This article presents an interview with the two artists involved, using images of the artefacts produced to structure the conversation. Each has arrived at this collaboration from opposite poles of CP Snow’s “two cultures” – one from physics and one from fine arts. A dynamic discourse is prompted by a provocateur. The artists reveal academic discipline-based bias as well as metalsmithing commonality. Material agency emerges as a significant discussion topic. This is discussed using terms familiar from exponents of social studies of science and technology such as Bruno Latour and Andrew Pickering and from feminist studies using diffractive analysis detailed by Donna Haraway and Karen Barad. Under scrutiny are the commonalities and differences in systems of knowledge, process and practice inherent in art and science intra-actions. These are highlighted in this reflective, or rather, diffractive practice review of the Labpunk collaboration.
