Scientific collaboration has been a critical aspect of the development of all fields of science, particularly clinical medicine. It is well understood that myriads of benefits can be yielded by interdisciplinary and international collaboration. For instance, our rapidly growing knowledge on COVID-19 and vaccine development could not be attained without expanded collaborative activities. However, achieving fruitful results requires mastering specific tactics in collaborative efforts. These activities can enhance our knowledge, which ultimately benefits society. In addition to tackling the issue of the invisible border between different countries, institutes, and disciplines, the border between the scientific community and society needs to be addressed as well. International and transdisciplinary approaches can potentially be the best solution for bridging science and society. The Universal Scientific Education and Research Network (USERN) is a non-governmental, non-profit organization and network to promote professional, scientific research and education worldwide. The fifth annual congress of USERN was held in Tehran, Iran, in a hybrid manner on November 7–10, 2020, with key aims of bridging science to society and facilitating borderless science. Among speakers of the congress, a group of top scientists unanimously agreed on The USERN 2020 consensus, which is drafted with the goal of connecting society with scientific scholars and facilitating international and interdisciplinary scientific activities in all fields, including clinical medicine.

The aim of the text is to present the use of the analytical autoethnographic method in studying the “art&science” phenomenon. It is attempt to show that the role of the artist can combine with the role of the ethnographer. The objects of study are the multilevel relations emerging during the realization of artistic projects in biological laboratories. These relations concern both humans (the artist, the scientists) and non-humans (laboratory organisms, equipment). On the basis of actor-network theory, the author presents how the liminal status of ethnographic research is modified when it connects with art. The form of conducting the research is both an example of activity in the art and science field and a new methodological proposal for the study of science and technology.

In April 2020, artists Robertina Šebjanič, Louise Mackenzie, Karolina Żyniewicz and Isabel Burr Raty were invited by Dalila Honorato to develop research on the theme of “Staying in Touch: post-coronavirus art curating” as part of the collaborative digital art residency Braiding Friction. Working remotely across Slovenia, the UK, Poland, Belgium, Greece, USA and Portugal the group developed a speculative fiction in which art is the virus and art practitioners act as frontline workers. Braiding historical and contemporary art, architectural and bio-art practices, the group developed potential futures for post-pandemic art spaces, resulting in a fictional account of a series of art exhibitions that coincide with a pandemic event. The research was synthesised in the form of a pseudo-documentary premiered by the Creative Europe project BioFriction on 23rd July 2020. This article presents the transcript of the pseudo-documentary “Staying in Touch” (Honorato, Mackenzie, Żyniewicz, Burr Raty, Šebjanič and Tavares 2020, 00:00:00 to 00:47:55), set in 2039: an ergodic narrative constructed as a self-ethnographic role-playing exercise by its contributors, where alter-egos Vess L, Arri Val, K-130, Soladite Carnelian and Anise Neuchâtel reflect on their curatorial practices before, during and after the pandemic. Whilst the narrative draws from many academic and contemporary influences, any references to historical events, real people or real locales are used fictitiously. Other names, characters, places or incidents are the product of the authors’ imagination, and any resemblance to actual events or locales or persons, living or dead, is entirely coincidental. “Staying in Touch” was edited by Pavel Tavares with the support of Cultivamos Cultura and included cameo appearances by artists Marta de Menezes, Yann Marussich and Adam Zaretsky. At its core, this work is a case study of artistic research and the possibilities of interactive engagement during the COVID-19 lockdown.

The global pandemic outbreak in 2020 was a disturbing experience for most people worldwide. The primary way of protecting human life was social distancing and lockdown, often forcing people to stay at home. The confinement made the fear and uncertainty grow bigger and bigger. Fortunately, the online connection was still as possible and essential as never before. The text is inspired by a series of remote meetings under the working title Viral Culture: Bio Art and Society, initiated by academic curator Claire Nettleton to put together people working in art&science area. Recordings of the Zoom gatherings complemented by notes and chat transcriptions served as intriguing storage of topics and ideas. This article focuses on the three threads: being-with (other humans, the virus and other non-human actors), caring without touch and the pandemic interpreted as a vast bio art project. All the archived materials, including the present article, will potentially function as historical documents in the future, showing how a specific group of transdisciplinary culture producers dealt with the global crisis in its first phase.

A conversation between scholar Agnieszka Jelewska and artist Karolina Żyniewicz around the topic of care in the latter's liminal practice of knowledge production.