Tag Archives: art + science

Science and Art resources

I’m in the process of collating resources on the topic of art and science initiatives from previous research consultancies I’ve undertaken on this topic.

In the interim, here are a few texts, books, and readings that deal with art and science collaboration.


Beloff, Laura; Berger, Erich; Haapoja, Terike (eds) Field_Notes – From Landscape to Laboratory – Maisemasta Laboratorioon, Finish Bioart Society, 2013

Brown, Andrew, Art & Ecology Now, Thames and Hudson, 2014

Century, Micheal, Pathways to Innovation in Digital Culture, 1999, updated 2013

Da Costa, Beatriz and Philip, Kavita Tactical Biopolitics: Art, Activism, and Technoscience MIT Press, 2008

Farmer, Caroline; Pierce, Julianne (eds) Scientific Serendipity, Australian Network for Art and Technology, 2002

Harris, Craig (ed.) Art and Innovation, The Xerox PARC Artist-in-Residence Program, MIT press, 1999

Hauser, Jens (ed.) sk-interfaces. Exploding borders – creating membranes in art, technology and society, Liverpool: University of Liverpool Press, 2008

Kac, Eduardo, Signs of Life: Bioart and Beyond, MIT Press, 2007

Jennings, Pamela. New Media Arts, New Funding Models, Report prepared for Creativity & Culture. New York: The Rockefeller Foundation, 2001

Mitchell, Robert E., Bioart and the Vitality of Media, University of Washington Press, 2010

Myers, William, Bio-Art, Altered Realities, Thamtes and Hudon, 2015

Scott, Jill, Artists-in-Labs: Processes of Inquiry, 2006

Scott, Jill ARTISTS-IN-LABS: Networking in the Margins, 2010

Snow, C.P. The Two Cultures, Cambridge University Press, 1993 (updated 2012)

Wilson, Stephen Information Arts: intersections of art, science and technology, MIT Press, 2002

Wilson, Stephen, Art & Science Now, Thames and Hudson, 2012

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GastroLab | Open sauces

Open-sauces_coverFood, culture and the environment have an intricate relationship that extends back to the origin of humans as a social species. To survive, we eat; to eat, we feed the environment that feeds us – food is a product of the reciprocal connection to our ecological habitats.

[FoAM] look at food from a holistic and systemic perspective. Too often however we eat in haste, forgetting to truly taste food. Tonight we’ll focus our minds on the taste of food, with its visual, sonic, olfactory and tactile properties that can energise and invigorate.
[FoAM] have been working with Ginny from Blue Sky Catering to develop a menu around [FoAM]’s Future Fabulators food scenarios. Building concepts on the future of food: Continue, Collapse, Discipline, Transform. Together they have developed a tasting menu comprising an Aperitif,  Warm & Liquid, Coloured & Playful, Intense & Strange, Familiar & Nourishing, and Light & Ephemeral courses.

[FoAM] have documented the project and related research at their “future fabulators” research pages on their web site.
Sunday 20th April 2014, 7 for 7.30pm. £10/8

Informatics Forum, 10 Crichton Street, Edinburgh EH8 9AB


LateLab is a collaboration between the Edinburgh International Science Festival, New Media Scotland and the University of Edinburgh’s School of Informatics.

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GastroLab video

“Amanda McDonald Crowley discusses the return of the GastroLab programme to Edinburgh International Science Festival and tells of the treats coming up in the 2014 programme.”
Published on 8 Apr 2014

Interview with me on the Edinburgh Science Festival’s YouTube channel discussing the GastroLab program I have curated with New Media Scotland, as part of my 2014 Alt-w Design Informatics curatorial residency.

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GastroLab | RGB Cocktail Party

GastroLab | RGB Cocktail Party

RGB Cocktail Party was the first of three GastroLabs I programmed with New Media Scotland as their 2014 Alt-w Design Informatics Curator-in-Residence.

The host of our RGB (Red, Green, Blue) cocktail party was French-American food designer and artist Emilie Baltz. Based in New York and Paris, she works at the intersection of gastronomy, performance and the visual arts to stimulate the definition of taste by provoking the five senses in new and unexpected ways.

In this ‘Triptych for Enlightened Drinking’ audiences discovered the effects of light and colour on solids (food) and liquids (cocktails) and how they impact human psychology.

Real time visuals produced by DJ Nord bathed the laboratory with colour to complement each of the three phases of mixology. Emilie discussed the effects of the RGB colour range of the light spectrum and how they affect mood and energy levels with Gary Martin‘s Lightlog project. How does colour affect how we consume food and how it affects our bodies? Cocktails by Elaine Mason, Ericka Duffy, and Rob McHardy. Catering by Blue Sky Catering.

Sunday 6th April 2014, 7 for 7.30pm. £10/8Informatics Forum, 10 Crichton Street, Edinburgh EH8 9AB

GastroLab was part of LateLab2014, a collaboration between the Edinburgh International Science Festival, New Media Scotland and the University of Edinburgh’s School of Informatics.

Photos by: Chris Scott

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Cocktails_BlueBlue_Cocktail 10153802_10152042718821239_126731718_n

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Field_Notes – Deep Time

In September 2013, Deep Time / Deep Futures in Helsinki in September, during the course of my HIAP residency, supported by FRAME.

Deep Time / Deep Futures is a symposium on artistic responses to the dichotomy between human time-perception and time in biological, environmental, and geological processes, within which we are embedded.



23rd September 16:00h – 19:30h
24th September 09:00h – 16:30h

VILHO, Kuvataideakatemian seminaaritila, Sörnäisten Rantatie 27 C, Helsinki/Finland


The archive for the live stream from the conference is available on the Finnish Society of Bioart’s Bambuser broadcast pages.

The Symposium follows “Field_Notes – Deep Time”, a week long art&science field laboratory. It is organized by the Finnish Society of Bioart at the Kilpisjärvi Biological Station of the University of Helsinki in Lapland. Five working groups were developing, testing and evaluating specific artistic approaches based on the interplay of art&science.

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consume flyer
CONSUME, is a group exhibition informed by my research at the intersection of art, technology, food systems, and wellness. It opens at gallery@calit2 on Thursday, April 11, 2013. Projects in the gallery document interdisciplinary ideas pertaining to current discussions in the fields of health, energy, technology, and the environment, and include works by: Brandon Ballengée, Oron Catts & Ionat Zurr, Justine Cooper, Beatriz da Costa, and Jamie O’Shea. Brandon Ballengée’s pieces Committed, Dedicated, and Tears of Ochún respond to the global crisis of fisheries worldwide and the current threat of an unraveling of the food chain in the Gulf of Mexico following the 2010 BP Deep Horizon oil spill. The installation The Remains of Disembodied Cuisine, by Oron Catts & Ionat Zurr, documents a performance ‘feast’ of tiny, semi-living frog steaks that were grown for almost three months in bioreactors, with video made in collaboration with Jens Hauser. Justine Cooper’s project Havidol is a fictional marketing campaign to launch a magic bullet lifestyle pharmaceutical, HAVIDOL®. The video triptych, Dying for the Other, by Beatriz da Costa, documents the lives of mice used in breast cancer research, as well as that of the artist, who suffered from the same disease [until her death in late December 2012 at the age of 38]. Placebo Brand Placebo, by Jamie O’Shea, is a kit to produce your own inert medication, in an experiment to discover if the placebo effect can be intentionally, consciously harnessed.

Artist Talks took place on Thursday, April 11, 2013, moderated by the curator, Amanda McDonald Crowley. Held in the Calit2 Auditorium at 5pm, the presentations are now also available online.


Brandon Ballengée creates trans-disciplinary artworks inspired from his ecological field and laboratory research. Since 1996, a central investigation focus has been the occurrence of developmental deformities and population declines among amphibians. Since 2009 he has continued his amphibian research as a visiting scientist at McGill University (Canada). In 2011 he was awarded a conservation leadership fellowship from the National Audubon Society TogetherGreen Program. The art of Ballengée has been exhibited internationally with recent solo exhibitions held at Ronald Feldman Fine Arts (2012, New York); Longue Vue House and Gardens (2011, New Orleans); Parco Arte Vivente, Centro d’Arte Contemporanea (2010, Turin); Nowhere Gallery (2009, Milan); Williams Center for the Arts, Lafayette College (2009, USA); Shrewsbury Museum (2009, former Shropshire home of Charles Darwin); Yorkshire Sculpture Park (2008, Wakefield); the Arsenal Gallery in Central Park (2007, NYC); Peabody Museum of Natural History (2007, Yale University); and others. He currently is finalizing his Ph.D. through a collaborative program between the University of Plymouth (UK) and Hochschule für Gestaltung Zürich (Switzerland). In the summer of 2013 a major survey of his work will debut at the Château de Charamarande in Essonne, France.

Oron Catts is the Co-Founder and Director of SymbioticA: the Centre of Excellence in Biological Arts at the University of Western Australia. Ionat Zurr, who received her PhD from the Faculty of Architecture, Landscape and Visual Arts, UWA, is a researcher and academic coordinator for SymbioticA. Catts and Zurr are currently also Visiting Professors at Biofilia – Base for Biological Arts in the School of Art, Design and Architecture, Aalto University Finland. They are artists, researchers, and curators who formed the internationally renowned Tissue Culture and Art Project. They have been artists in residence in the School of Anatomy, Physiology and Human Biology at the University of Western Australia since 1996, and they were central to the establishment of SymbioticA in 2000. They are considered pioneers in the field of biological arts and are invited as keynote speakers and exhibition curators. Zurr and Catts publish widely, exhibit internationally, and their work has been collected by MoMA New York. They have recently had a retrospective show in Poland.

Justine Cooper uses a variety of imaging methods, including MRIs, large format photography, video, animation, and online media to explore the frictions found in the public and private ways science and medicine are a part of us, as individuals and as a culture. Exhibitions and screenings include The International Center of Photography, New York; The New Museum of Contemporary Art, New York; The NTT InterCommunication Center, Tokyo; The Singapore Museum of Art; The Netherlands Institute for Media Art; the Centre Georges Pompidou, Paris; Kwang Ju Biennale, Korea, among others.

Beatriz da Costa (1974 – 2012) was a co-founder of Preemptive Media, an arts, activism and technology group, and a former collaborator of Critical Art Ensemble (2000-2005). She exhibited and lectured at the Andy Warhol Museum, the Centro Andaluz de Arte Contemporáneo, Sevilla (Spain), Zentrum fuer Kunst und Medien (Germany), Museum of Contemporary Art (Serbia), Exit Art Gallery, Eyebeam art + technology center, Cornerhouse (UK), Saidye Bronfman Centre for the Arts (Montreal), and the Natural History Museum in London. She was a Creative Capital grantee, received support from the Durfee Foundation, the Inter-Society for Electronic Arts, and the University of California Institute for Research in the Arts. Together with Preemptive Media, she received the Social Sculpture Commission from Eyebeam and the Lower Manhattan Cultural Council, as well as funding from Franklin Furnace, Turbulence, Experimental Television Center and the Beall Center for Art and Technology at UC Irvine, where she was a tenured professor in Studio Art and Electrical Engineering and Computer Science (and affiliated with the UC Irvine division of Calit2).

Jamie O’Shea is an inventor living in New York City. His machines and experiments are mostly prototypes – gestures of outlandish possibility about time, light, memory and mind. He is interested in what machines mean as much as what they do. These works mostly live in the arts, and have been shown in non-profit spaces across the U.S., as well as Russia, Switzerland, England, Norway, and Mexico, appearing in print and on television around the world. Currently he is working on his first commercial product, trying to change the world with popcorn. He is partnering with BjornQorn to utilize a new, inexpensive type of solar mirror to power their production line. He is also a staff member at Eyebeam.

More Information:

Installation Shots:

Installation photos: Justine Cooper

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The title for FEEDBACK, an exhibition conceived and curated by Eyebeam’s Sustainability Research Group, refers to the self-correcting mechanisms by which systems—in this case, ecological—respond to the influence they exert on their environments.

Numerous projects in the exhibition addressed energy consumption, production and harvesting: A visitor entered the exhibition through Fluxxlab’s Revolution Door, a modified revolving door that harnesses and redistributes human energy. Mouna Andraos’ The Power Cart is a mobile unit that delivers alternative power to people on the street, and Jeff Feddersen’s installation The Off-Grid Outlet is a solar-powered AC outlet and 12V DC power port destined for the Brooklyn restaurant Cafe Habana. Building on existing urban infrastructure, Andrea Polli’s Queensbridge Wind Power Project investigates how clean, renewable wind power might be integrated into the landmark architecture of the Queensboro Bridge.

FEEDBACK also featured the winners of the Eco-Vis Challenge, a two-part juried design competition to raise environmental awareness through creative data visualization projects.

A series of short video-documentaries by Jason Jones of the Brooklyn artists’ collective Not An Alternative, commissioned especially for FEEDBACK, documents the making of each of the displayed projects, providing insight into the creative process. These videos were screened in the main gallery, and are  available on Eyebeam’s website.


Curators: Amanda McDonald Crowley, Liz Slagus, Paul Amitai, in collaboration with Eyebeam’s Sustainabilty Research Group
Exhibition designers: Fluxxlab
Videographer: Jason Jones, Not An Alternative

Project and artist websites:
Andrea Polli, The Queensbridge Wind Power Project
Annina Rüst, eRiceCooker
Brooke Singer, Superfund365
Eve Mosher, HighWaterLine
Fluxxlab (Jennifer Broutin and Carmen Trudell), Revolution Door
Forays (Geraldine Juárez and Adam Bobbette) Edible Excess
Green Map® System, Green Map® Icons
Leah Gauthier, Sow-In
Michael Mandiberg, The Real Costs
Mouna Andraos, The Power Cart
Preemptive Media, Area’s Immediate Reading (AIR)
Rebecca Bray and Britta Riley, DrinkPeeDrinkPeeDrinkPee
Roger Marvel Architects, Govenors Island Project
The Living (David Benjamin and Soo-in Yang), Living City
The Studio for Urban Projects, Strange Weather
Timm Kekeritz, VirtualWater and WaterFootprint
Fred Beneson, CommitteeCaller
Natalie Jeremijenko, The Environmental Health Clinic
Sustainable South Bronx
Not an Alternative

Feedback Press Release: PRFeedback030408FINAL.

Video interview with Amanda McDonald Crowley about FEEDBACK workshops

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Sustainability Research Group

Eyebeam Sustainability Research Group

165389751_a4e31b8df7As a cultural worker and curator, I am equally interested in providing contexts for artists to produce new work and research as I am in curating exhibition programs.

Eyebeam art and technology center had a brief to provide critical contexts for artists and technologists to  produce, and present new works and new research. Responding to the work being undertaken by artists at Eyebeam, I facilitated the establishment of the Eyebeam Sustainability Research Group in 2006. Initially managed by Rebecca Bray as part of a research internship, it comprised residents, fellows, alumni, and staff at Eyebeam. The structure was very loose and various artists used it as a platform to individually and collectively undertake research, develop projects, programs and exhibitions. As examples, in 2007 Michael Mandiberg, Brooke Singer, and Paul Amitai led an effort to establish an Eco-Vis Challenge; in 2008, Andrea Polli used the Group as a platform and to convene monthly discussions related to her research; the significant exhibition FEEDBACK was collectively conceived by the group in 2008; in 2011 resident artist Stefani Bardin used the group structure to convene conversations and around her research in the area of Food and Emerging Media, as well as a series of XLab Salon dinners. Projects were not specifically curated, rather the research themes at Eyebeam became factors in the selection process for fellowship and residency programs at Eyebeam, and the research structure provided a rich context to produce work. Occasionally larger collaborative public programs also emerged from the group.

Further information about artists, projects, and programs related to this research topic can be found at Eyebeam Sustainability Research Group.


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Mobile Content & Urban Surgery

Mobile Content and Urban Surgery

Residencies and workshops in Helsinki and throughout the Baltic region before, during and after ISEA2004


Screen Shot 2013-02-16 at 4.26.38 PMLifeboatScreen Shot 2013-02-16 at 4.24.26 PM

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Synapse : Art/Science strategy


From April – August 2002 I worked as a consultant to the New Media Arts Fund of the Australia Council undertaking research and policy development for the Fund’s Art/Science strategy. The research resulted in the establishment of the Synapse Program.

From Australia Council call for proposals for Synapse, 2002.

From Australia Council call for proposals for Synapse, 2002



ANAT also ran a database of Australian artists and science organisations working in this field from 1999-2005. although no longer online, components of the site, including artists is viewable on the waybackmachine. synapse_screenshot

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