Art and Science

Culturing the Pleebland: The Idea of the Public in Genetic Art (2007)

by Lisa Lynch

Science Education of Gifted Students at Intellectual Area: A Case for Science Art Centers

by Halil Eksi

Murat GÖKDERE, Mehmet KÜÇÜK
Educational Sciences: Theory & Practice
3 (1) • / May 2003 • 118-124

This study discusses gifted science students’ learning-teaching process in the
content of student, teacher, and... more This study discusses gifted science students’ learning-teaching process in the
content of student, teacher, and teaching program and thus, aims to identify the
deficiencies of gifted science students at science education process. Data gathered
with the help of document review, questionnaire, and interview methods. First,
student-teacher selection processes and teaching programs at Science Art Centers
in Turkey, where gifted students are educated, were investigated. In the second
phase, 60 gifted students from the intellectual area at the second part of the
primary schools in the Bayburt, Sinop and Trabzon Science Art Centers were
administered a questionnaire. In addition, 14 science teachers were interviewed.
Based on the findings, there appeared many important problems at gifted
students’ teacher selection and their working processes. Some applications
regarding gifted student identification process has also brought a lot of
problems, which need to be solved as soon as possible.

Zombie Media: Circuit Bending Media Archaeology into an Art Method (Leonardo)

by Garnet Hertz

Co-authored with Jussi Parikka. Forthcoming in Leonardo, MIT Press

This text is an investigation into planned obsolescence, media culture and temporalities of media objects; we approach... more This text is an investigation into planned obsolescence, media culture and temporalities of media objects; we approach this under the umbrella of media archaeology and aim to extend the media archaeological interest of knowledge into an art methodology, following the work of theorists such as Erkki Huhtamo [3] and others who have given the impetus to think about the complex materiality of media as technology – from Friedrich Kittler to Wolfgang Ernst and Sean Cubitt. Hence, media archaeology becomes not only a method for excavation of the repressed, the forgotten, or the past, but it extends itself into an artistic method close to Do-It-Yourself (DIY) culture, circuit bending, hardware hacking, and other exercises that are closely related to the political economy of information technology. Media in its various layers embodies memory: not only human memory, but the memory of things, of objects, of chemicals, and circuits.

The Godfather of Technology and Art: An Interview with Billy Klüver

by Garnet Hertz

in "Science, She Loves Me" edited by Mary-Anne Moser, Banff Centre Press, 2011

Art and science have encountered each other since the beginning of time, in all kinds of interesting ways - cave... more Art and science have encountered each other since the beginning of time, in all kinds of interesting ways - cave paintings, medical history, architecture or Leonardo da Vinci. One of the more recent encounters - and most relevant for the field of electronic art - was in 1967, when Billy Klüver, an electrical engineer at Bell Telephone Laboratories, founded Experiments in Art and Technology (E.A.T.) with Robert Rauschenberg. The artists involved in the project are now legendary in the contemporary art world but little is known of this initiative in the contemporary science communications world. Perhaps no wonder—the engineer at the helm decries any effort to force art and science into a meaningful union.

Find out more about Billy Klüver in this interview with Garnet Hertz from 1995.

Ethology of Art and Science Collaborations: Research Ethics Boards in the Context of Contemporary Art Practice (Bridges II)

by Garnet Hertz

Lecture notes from Bridges II Consortium, October 4-6, 2002. Banff Centre, Canada.

Frameworks for ethical review of scientific research are well established and documented; however, many... more Frameworks for ethical review of scientific research are well established and documented; however, many interdisciplinary artists and art institutions are unfamiliar with these policies and procedures, as well as the potential benefits this process offers within emergent areas of collaborative research. In this paper, we will examine currently established models for ethical review of scientific research as they would apply to interdisciplinary fields. Using the Canadian system as a basis for discussion, a practical overview of its guiding principles, conducts, application processes, terms of approval and liabilities will be presented. Issues covered will include tissue culture, animal use, genetic modification and transgenics. Relavant highlights will be presented from the Interagency Advisory Panel on Research Ethics (PRE), the Canadian Institutes of Health Research (CIHR), the Natural Sciences and Engineering Research Council of Canada (NSERC), the Canada Council of Animal Care (CCAC) and the Social Sciences and Humanities Research Council of Canada (SSHRC). Examples of contemporary artworks will be explored as specific case studies in relation to the ethics review process. Proper navigation of these processes may offer guidance to artists and institutions that engage controversial subjects, use scientific facilities, or attempt to gain access to funding traditionally oriented to scientific research.

Fluidez tectónica

by Luís Quintais

Les lois sont si invariables … – Die Entwicklung der Naturwissenschaften und Amédée Ozenfants Kunsttheorie

by Julia Rüdiger

Critical Load

by Richard Streitmatter-Tran

contribution co-authored with Le Tuong Vi for the Ex-Files project by artist Michael Lee for the Institution for the Future (curated by Biljana Ciric), exhibited at the Chinese Arts Centre (September 2011) and the Asia Triennial Manchester 2011.

A VILE/RATS contribution to Ex-Files by Michael Lee for the Institution for the Future (curated by Biljana Ciric),... more A VILE/RATS contribution to Ex-Files by Michael Lee for the Institution for the Future (curated by Biljana Ciric), exhibited at the Chinese Arts Centre (September 2011) and the Asia Triennial Manchester 2011.

The publication of Ex-Files is expected to be published by Michael Lee's Biblioteque in 2012.

All rights reserved by the artists and Michael Lee.

Das Museum als Erfahrungsraum

by Torsten Heinemann

An Introduction to Performative Science

by Hans H. Diebner

A Minima 21, 78-95 (2007).

Von guten Algorithmen und schlechten Menschen

by Hans H. Diebner

In: Barbara Könches und Peter Weibel (Hrsg.): UnSICHTBARes - kunst_wissenschaft. Benteli-Verlag, Bern, 2005, pp. 384-405.

Über die Rolle von Kunst in den Sozial- und Organisationswissenschaften

by Hans H. Diebner

In: Timo Meynhardt und Ewald J. Brunner (Eds.): Selbstorganisation managen - Beiträge zur Synergetik der Organisation. Waxmann, Münster, 2005, pp. 117-134.

Cultural Evolution and the Internet: A Critical Inquiry Respecting the Convergence of Art & Science

by Hans H. Diebner

In: Conference Proceedings of 'MutaMorphosis: Challenging Arts and Sciences', 8th - 10th of November 2007, CIANT, Prague, Czech Republic, 2009.

Where Art and Science Meet (or where they work at cross-purposes)

by Hans H. Diebner

In: Uwe Seifert, Jin Hyun Kim, and Anthony Moore (Eds.): Paradoxes of Interactivity: Perspectives for Media Theory, Human-Computer Interaction, and Artistic Investigations. Transcript Verlag, Bielefeld, 2008. pp. 142-159.

Kunstvergessenheit. Oder: Die systemwissenschaftliche Vernutzung von Kunst

by Hans H. Diebner

In: Jürgen Schläder und Franziska Weber (Hrsg.): Gegenwelten. Momente der Wahrnehmung - zwischen Differenz und Reflexion. Henschel-Verlag, Leipzig, 2009, Seiten 84-121.

Performative Science: Bridging the Gap Between the Cultures

by Hans H. Diebner

Paper presented in the Symposium "Arte-Scienza" (Pre-print proceedings by Laura Bianchini, Michelangelo Lupone and Maria Giovanna Musso. Centro Ricerche Musicali, Roma), Rome, September 24, 2004.

La ciencia performativa y la hermeneutica operacional

by Hans H. Diebner

In: Jose-Carlos Mariategui (Ed.), Peru/Video/Arte/Electronico - memorias del festival internacional de video/arte/electronica. Lima, Peru, 2003 (in Spanisch), pp. 119-123.

Climate change and the imagination

by Jennifer Gabrys

A Weather Permitting collaboration, co-authored with Kathryn Yusoff in WIRES (Wiley Interdisciplinary Reviews, Climate Change) (DOI: 10.1002/wcc.117), vol. 2, no. 4 (2011), 516-534.

This review article surveys the complex terrain of the imagination as a way of understanding and exploring the... more This review article surveys the complex terrain of the imagination as a way of understanding and exploring the manifestations of anthropogenic climate change in culture and society. Imagination here is understood as a way of seeing, sensing, thinking, and dreaming that creates the conditions for material interventions in, and political sensibilities of the world. It draws upon literary, filmic, and creative arts practices to argue that imaginative practices from the arts and humanities play a critical role in thinking through our representations of environmental change and offer strategies for developing diverse forms of environmental understanding from scenario building to metaphorical, ethical, and material investigations. The interplay between scientific practices and imaginative forms is also addressed. Thematically, this review addresses the modalities of climate futures, adaptive strategies, and practices of climate science in its study of key imaginative framings of climate change.

Arts, sciences and climate change: practices and politics at the threshold

by Jennifer Gabrys

A Weather Permitting collaboration, co-authored with Kathryn Yusoff in Science as Culture (published online first, 14 April 2011).

Within climate change debates, writers and scholars have called for expanded methods for producing science, for... more Within climate change debates, writers and scholars have called for expanded methods for producing science, for proposing strategies for mitigation and adaptation, and for engaging with publics. Arts–sciences discourses are one area in which increasing numbers of practitioners and researchers are exploring ways in which interdisciplinarity may provide a space for reconsidering the role of cultural and creative responses to environmental change. Yet what new perspectives does the arts–science intersection offer for rethinking climate change? Which historic conjunctions of arts–sciences are most useful to consider in relation to present-day practices, or in what ways do these previous alignments significantly shift in response to climate change?

Forecast factory: snow globes and weather makers

by Jennifer Gabrys

Published in BiPolar, ed. Kathryn Yusoff (London: The Arts Catalyst, 2008; ISBN: 978-0-9534546-6-2), 62-66.

Snow globes offer a window into imaginary and speculative landscapes. They present landscapes within submerged and... more Snow globes offer a window into imaginary and speculative landscapes. They present landscapes within submerged and drifting scenes. As fixed as they may appear, snow globes are meant to be unsettled, and turned upside down. In this sense, they are at once fixed and dynamic, frozen and transient. In the space of the snow globe we can begin to imagine the shape of imminent environmental disturbances and alterations, especially abrupt climate change. This Weather Permitting project explores how the snow globe is an ideal device for projecting and examining new natures. Drifting snow could as likely be imagined as an apocalyptic ash; the submerged landscapes as images of ruined or flooded landscapes. “Zero Degrees” explores these future and imaginary climate scenarios in the space of snow globes.

This chapter was developed together with an exhibition at the Royal Society of Antiquaries, sponsored through the BiPolar project developed by Kathryn Yusoff and Arts Catalyst (http://www.artscatalyst.org/projects/detail/bipolar/).