The conference proposes to host a collection of talks in order to let a coherence emerge around the topic of so-called “wet media”. The term “media” referring here to the material that is used to create whether this be the Duchampian heroism of a thoughtful title or the mass screens of a times square reflecting a certain nothingness while blinding in their brightness, and the term “wet” being much less tangible and more directed at slippery issues of gender animality, artefact, and sensuality of today's bioart tech initiatives. Combined, the two terms form the substance of the conference and through this the presenters point out current technological climates of emerging technologies that may include bacteria as artistic medium, infection transmission scenarios, evolutionary and genetic processes, raw big data applications, virtual as well as scientific and historical media, and virtual reality encounters, which -like the conference- go beyond the beyond into boundless of visualisation of meaningful interaction between man, machine, and micro-organism.
Invited speakers include: Anna Dumitriu, (GBR), Boredom Research (GBR), Alex May (GBR), Wayne de Fremery (USA/KOR), Sonja Bauemel (AUT/NDL), Catherine Young (PHP), Roberta Trentin (ITL/), Pascale Barret (BEL), Wayne De Fremery (USA/KOR), Art Clay (USA/CHE)
If the world is to achieve ecological, political and economic sustainability, it is essential to establish a “sustainabity culture.”
The urgent need to generate transdisciplinary means to safeguard and facilitate contemporary human creation is a fundamental notion of the art science initiative.
The art science text in hand represents a call to artists, scientists and art scientists toward unification beyond simple disciplinary collision, collusion and compromise. The art scientists interviewed within promote inter- and intra-disciplinary synthesis through practical and pragmatic methods whether these be theoretical and/or factual in their application. As a result, the text provides a conceptual guide for those seeking co-evolutionary artistic and scientific discernment at the bleeding edge of new compound perception and cognition.
This topical survey and evaluation of the state of “art science,” top-down and bottom-up, is not constrained by the usual tenets of specialized approaches. Nor is it ingenuous in its attempt to be as all-inclusive as possible where, for example, techno-cultural issues involve government and financial directives.
The editors provide pithy interviews with prime international consultants like Raymond Saner. Saner identifies four systemic failures which negatively affect the contributions of art science. These are market, government, academic and civic – failures which can be remedied by applying appropriate policies.
Other contributors also represent a field of techno-cultural facilitators rather than agitators. For example, Anatole Kaletsky suggests that capitalism is “not a static set of institutions but an evolutionary system that reinvents and reinvigorates itself through crisis.” Hence, what is proactively proffered here is a mindset for “democratizing science” with “horizontal relationships [among] peoples” as well as a humanitarian approach to technological R&D.
As K-soul puts it, in the search for “the fundamental structure of the human and its universal nature” or “the foundation of our humanity” in a “universal language . . . scientific knowledge is essential to mastering this language.” Sunghoon Kim is also quick to point out that “engaging with the arts is becoming an increasingly important part of being a good scientist.”
Nothing less than a new “aesthetics” emerges from art science collaborations. Ruedi Stoop states enthusiastically, “Aesthetics emerge where complexity [disciplinary interaction specifically and generally] challenges the human mind or intellect.” He adds, “Depriving the human mind of being able to have [aesthetic experience] means to dehumanize it.” And he concludes, “Aesthetics is the opposite of a totalitarian view.” Specialty arts and sciences have often inadvertently proposed and officiated over various totalitarian views, while the transdisciplinary, which includes the spirituality of moral and ethical reflection, attempts and partially succeeds in moving the heart and mind into the deeper humanity discovered through creative edification.
Creation is edification. It is order out of chaos. It is perpetually unique. It is order crystalized at the bleeding edge. It is pan-universal. And, as this text most emphatically attests, its transdisciplinary measures, verbal and non-verbal, scientific and artistic, can be happily extended to all of humanity.
F. Scott Taylor
Subtle Technologies Arts Projects
This is a download party. To participate just download the book from Apple Books. It only costs 99 cents and you will be part of a readership who is deeply interested in what is to come.
The book, “On Science, On Art, Society: Interviews with Innovators” features a collection of twenty-five interviews from practitioners originating in diverse and outwardly opposing fields. Divided into three separate chapters, “On Science”, On Art”, and “On Society, authors illustrate to the reader models of hybridity that can validate convergence as a method for nurturing innovation across disciplines. Readers interested in innovation and the processes that drive it, will find that each of the chapters of the book addresses a particular area of knowledge and that each of the interviews offers its own perspective on the subject at hand as well as offering case examples that put theory into practice.
"Abundance of Life" is the theme of this year╒s Bio-Art Exhibition organized by Seoul National University Medicinal Bioconvergence Research Center (Biocon) in collaboration with the Digital Art Weeks International. The event hopes to showcase a selection of artists whose work covers a broad spectrum of work that connects to life sciences.
The word abundance refers to a very large quantity or to a state or condition of having a copious quantity of something. Nature is in abundance and this plenitude reflects one key issue about life.
The opportunity to submit works for exhibition extends to all artists and illustrators whose work reflects the theme of the exhibition in any form or fashion and where possible also shows scientific research as a converging factor in the arts.
Selected works will be exhibited in the National Science Museum in Seoul South Korea from 5 to 15 November in exhibition dedicated to art and the life sciences.
Cash prizes (circa 1000 USD per award) will be given to the best works.
To submit your work, please submit the following:
• Jpeg images @ 72 dpi (standard web resolution)
• Include on each image:name, title, size, medium, date, nationality
• Deadline for submissions: 1 October 2015
• Exhibition Dates: 5 to 15 November 2015
• Artist Reception: 5 November 2015
Welcome for submission are:
• Posters and Graphics,
• Video (including screenshots)
• Informative graphics (comics)
• Installations (Media)
• Agar Dish Art
Please send all submissions to the following email address: firstname.lastname@example.org
For questions please contact us at: