This article is an open-ended discussion of five events from the LASER series hosted at Hexagram in Montreal, Quebec, Canada, between 2014 and 2021. LASERs at Hexagram interweave the research-creations of its members in dialogue with local and international guests. Emerging from the audio-to-text transcriptions of previous documentation of these LASERs, the word “movement” becomes a novel lens of analysis for this text, according to a “diffractive” approach. Thoughts and actions afforded by this word produce a surprisingly gentle yet compelling interdisciplinary weave, to inspire future editions.

In the last decades, the blurring of boundaries between artists, curators, venues and audiences has created an entirely new ecology where nearly every phase, every aspect, and every role embodied in contemporary art practice is profoundly changing in previously unanticipated ways. Alternate strategies performed in the creation and presentation of emerging eco art projects definitely illustrates this premise.

The investigation of the role of Art as a Catalyst at the intersection of science and technology has become a global focal point over the last decade. The Balance-Unbalance 2013 international conference explored this issue in depth. “Artists as Catalysts” was the main topic of the 2013 Ars Electronica Festival - strong evidence of significant interdisciplinary progress. Nevertheless the question remains: How is art, science and technology changing in the process? Does cross-disciplinary artist-initiated collaboration function as a catalyst in this setting? This paper briefly examines these issues based on personal participatory experience.

The Aureole installation created as part of the e-MobiLArt project combines physicality, technology, visual, sonic and textual components — and aims to evoke a poetic experience inspired by the Aurora Borealis .

The three curators of the eMobiLArt project developed collaboration within the curatorial group and with other people involved including participating artists and organizers. This article is focused on how the various tasks evolved during the project process. A reflection on the outcomes (artworks and exhibitions) and the role of curators in such a collaborative experimental project is also included.

ABSTRACT The authors argue that living organisms establish long-range links over space and time by building and maintaining highly oriented flows and asymmetric interfaces. They use the example of stew as a familiar process in which this network of oriented dynamic perturbations in space and time can be observed.