**5. Conclusions**

Our paper theoretically and practically demonstrates the contribution of artistic practice to technological developments, while assuming this practice brings about enough of a paradigm shift to lead to climate solutions. During our research, we have identified four characteristics of the artistic process that are likely to impact technological developments: The notion of inner self engagement, the value of subjectivity, the creation of a free space, and the opportunity of empathy. Then, we conducted a survey among the spectators of the artistic installation and examined the relevance to associate various channels of communication in order to establish a dialogue with the public:


Our research highlights the power of an art-based approach to increase the levels and possibilities of interaction with an audience by bringing together the sensory, imaginative, and cognitive dimensions.

Our approach opens, in a unique way, a new avenue between committed art [31], which immediately a ffirms a political and constant position, and augmented art [32], which uses technology in order to increase its own artistic vocabulary within its artistic media. In our case, the body is the main actuator of a space that articulates intimacy and social and political domains throughout imagination, whether we talk about the body of the spectator at the time of the experiment or the artist's one during the creation process.

We do embody our trajectories and our relationships to the world, as described by Sylvia Faure and Anne-Sophie Gosselin: "the social speaks directly to the body by transmitting values, ways of being and doing that are reproduced by each other, without any objectification" [33]. In that sense, engaging bodies in artistic experiences opens possibilities to question contemporary values and ethics [34]. For Ernst Bloch, social di fferences are transmitted as well but throughout imaginations. For the purpose of this research, we have experienced, in an original way, the idea of the body and of the imaginary as transmitters of values in relation to the issue of climate change.

At the time of the artistic creation, the project of a research survey was not in the artist mind. On one hand, this situation had the advantage of leaving the artist free of working with her imagination regardless of its impact outside the piece of art. On the other hand, knowing about the research and analysis part at the time of the creation would have helped the artist to set up an adapted reflective framework that could have been used during the survey phase. Although our analysis of the artistic experience was detailed, we did not use dance movement analysis to deepen our understanding of the audience interaction with the art piece. In addition, in the case of a future research, we will think of improving the cross section of our sample. This was satisfactory for our present work, albeit we noted some influence based on the two di fferent places where we hired research participants as well as variation in interviews conducted in group or individually.

Design and context in relation to the artist's own sensory experience allow us to experience often hidden or unspoken issues and to question the meaning of innovations. It opens up a space for dialogue and advances user's environmental consciousness as well as contributing to implementing innovation that transcends the idea of market need and seeks to connect to global needs that integrate human and nature.

This research is a tentative to understand the value of imagination and freedom as practical and rational tools adapted to climate change mitigation, which could relate, by its magnitude, to Ernst Bloch's idea of concrete utopia.

**Author Contributions:** J.B. is the author of the studied art installation. C.V. wrote the questionnaire with input from J.B. Interviews were conducted by C.V. and J.B. together during three days in Paris and J.B. conducted, by herself, the last day of interviews at Cité des Sciences as well as interviews run in Strasbourg (Le Shadok). Corpus analysis has been led by C.V,. J.B. and C.V. wrote the paper.

**Funding:** This research received financial support from CNRS/UMI LN2, Sherbrooke, Canada. Jeanne Bloch's participation has been funded by the CIL LEBEL Foundation researcher' program.

**Acknowledgments:** The research has been developed thanks to CNRS/UMI LN2, Sherbrooke, Canada, LadhyX, Ecole Polytechnique, Paris, France and the Chaire arts et sciences—Ecole Polytechnique—Ensad—Fondation Daniel et Nina Carasso and Carrefour Numérique—Cité des Sciences, Paris, France. The artistic installation was developed thanks to the art centers 104 (Paris) and Le Shadok (Strasbourg) and co-produced by Contemporary Hope (Available online: http://contemporaryhope.dance). We would like to thank for their implication to the corpus analysis: Marilou <sup>L</sup>épine-Gougeon, master's student in Political Studies at Sherbrooke University and Isabelle Lacroix, Ph.D. and Director of the Department of Applied Policies in Sherbrooke University. The artistic installation would have not work as well without Jonathan Perret, software performer, (Available online: http://ut7.fr), deep and smart electronic engineering contribution.

**Conflicts of Interest:** The authors declare no conflict of interest.
