Immersion in niche abstraction defines an academic scientist. This cold, hard fact is essential to discovery but comes at the cost of a form of separation. And here lies my conviction; scientists are responsible for a culture that often sidelines artistic expression. This is unfortunately not helped by the fact that many scientific communication initiatives are ghastly, self-defeating exercises. Overly didactic, self-indulgent and focused on rehashing results. It can seem as if our only sanctioned vehicle is to flatten our abstractions into reductionist forms and for the goal of what? We are each deeply aware of the shape and texture of the communication problem. Why can’t we connect with that explicitly? There is clear value in embracing creative modes, styles, and tools beyond the written. Forms which express meaning whilst naturally resisting the pedagogical habits which can confine.
It was this that I carried into Locarno Film Festival 2025 with the goal of rethinking what science communication could be. In this respect, I am so proud of what our team achieved. We tried something genuinely different; to capture and display the audio-visual environment of an academic lab. This short film based on ‘show don’t tell’ was at least partially close to the original vision. The film comprises still, slightly lonely shots of scientists existing. No words. No abstractions. Barely a concept. The sound is as harsh and oppressive as the laboratory can occasionally be, mechanical, rhythmic noises, and sometimes sudden stillness. This adoption of the filmmaker’s language was well received. It helped us break barriers as we screened the film privately to actors, directors and filmmakers, each offering insightful discussion and feedback. Against what I expected, I met those with an astonishing ability to broach these apparent disparate worlds with grace, honesty and meaningful reflection. When we finally screened the film, our Q&A session allowed us to present our final thoughts, refined over the experience.
It was this journey, that the Locarno Film Festival enabled, which improved me as a scientist. I also watched lots of films, had some late nights, swam in the lake but all whilst I was out of my comfort zone, communicating in a language between that of my professional and personal self. As with most meaningful things, people enabled and defined it. To Deni who brought his flair and deep insight. To Ele and Catarina for their commitment to the basecamp projects and their own perspective on science communication. To Berk, who enabled the production of the film and with whom together I worked the late-night networking shift. To Stefano and Justine, to the Basecamp team, to the NCCR MSE, to Ralf Stutzki and to all the people I met along the way, thanks so much to each of you. Together, we had an honest confrontation with the artistic forefront. At first the engagement felt intangible, difficult to feel new words pass the lips but as time went on, I spoke with confidence, and we shaped a collective vision. There is still so much untapped potential for art and science collaboration and by innovating in this space, we can improve our communication accordingly and integrate better in societal initiatives.
Rob
I am Rob, a British microtechnologist and postdoctoral researcher at ETH Zürich, working in the group of Professor Dittrich. Microtechnology is often applied to model a specific biological component, be it a cell, tissue, or other entity. Why? Because, broadly speaking, it enables the development of new biotechnologies and medicines while also deepening our understanding of fundamental biological phenomena.
An effective microtechnologist must operate across multiple fields, whether as an engineer, scientist, philosopher, or more rarely, an artist. The lines between these roles naturally blur, but the artist is typically the least accessible and therefore most underexplored for further enrichment. I am honored by the opportunity to represent the NCCR MSE at the Locarno Film Festival at the intersection of art and science. I view this as uniquely valuable for sharing and cross-pollinating the work we are advancing with the festival’s diverse audience. Whilst I actively champion creativity in academia, both my own and that of my colleagues, I have no expectation of perfect alignment with this event. I cannot predict how filmmakers will perceive what we are doing, or how they might be inspired. I want to resist reductionism or oversimplification and remain open to divergent views, concepts and styles of communication. What I can say is that I trust in this process and, however this event unfolds, I can’t wait to get stuck in.