This book explores collaboration between artists and scientists and examines the ways in which scientific data and research findings can be communicated, translated and transformed using the techniques of contemporary art and information technology. Contemporary art formsincluding installation, sculpture, painting, computer-based art, Internet art and interactive electronic artworksare able to provide new and creative outlets, with expanded audiences, for scientific research.
The book, which features 75 illustrations of works created as a result of artscience collaboration between scientists and artists, is important in the field because it presents a thorough account of the collaboration through the eyes of a leading creative practitioner and a leading cultural theorist. It contains a wide range of in-detail examples of successful collaborative works that illustrate the breadth and depth of contemporary interdisciplinary creative-research approaches.
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ix | |
| Preface |
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xiii | |
| Acknowledgements |
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xv | |
| Introduction |
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1 | (4) |
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1 A Brief History of Science/Art |
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5 | (16) |
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7 | (2) |
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9 | (1) |
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10 | (7) |
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Twentieth Century Art-Science |
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17 | (2) |
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Twenty-First Century SciArt |
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19 | (2) |
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2 Artists Working with Science |
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21 | (12) |
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22 | (1) |
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23 | (2) |
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25 | (8) |
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3 Environmental Science Meets Art |
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33 | (12) |
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Environmentalism/Climate Change Science |
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34 | (5) |
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39 | (6) |
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4 Culturescape: Environment, Science, and Art at Bundanon |
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45 | (28) |
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A Brief Environmental History of Bundanon |
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47 | (5) |
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Footprints and Fingerprints |
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52 | (4) |
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56 | (3) |
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59 | (3) |
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Four Environmental Artworks |
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62 | (11) |
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5 Heavy Metal: Painting and Chemistry |
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73 | (10) |
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Land, Minerals, Contamination: Heavy Metal |
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75 | (3) |
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Heavy Metal: Image and Sound |
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78 | (5) |
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83 | (16) |
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In the Beginning: GeneMusiK |
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86 | (1) |
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87 | (1) |
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87 | (3) |
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90 | (1) |
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Eine Kleine GeneMusiK: Prototype No. 1 |
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91 | (4) |
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GeneMusiK--Over the Rainbow: Prototype No. 2 |
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95 | (3) |
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98 | (1) |
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99 | (16) |
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BioLogging and Under the IceCap |
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100 | (1) |
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101 | (4) |
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105 | (1) |
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106 | (4) |
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110 | (5) |
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115 | (24) |
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Part 1 Oratorio for a Million Souls |
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116 | (6) |
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Creative Challenges: The Oratorios |
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122 | (1) |
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Creative Challenges: The Musical Scores |
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122 | (1) |
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123 | (1) |
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124 | (4) |
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Part 3 Float like a Butterfly; Sting like a Bee |
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128 | (1) |
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Swarming and the Future of Conflict |
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129 | (1) |
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130 | (1) |
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Reframing the Bee: Sentience |
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131 | (1) |
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132 | (1) |
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Reframing the Bee, Political and Social Metaphor and the Post-Human |
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133 | (1) |
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Reframing the Bee, Morphology |
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134 | (1) |
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Reframing the Bee, Instrumentalisation |
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134 | (1) |
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135 | (3) |
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138 | (1) |
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139 | (24) |
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Sounds of the Brain: 5.06 am |
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139 | (3) |
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Walking in Augmented Reality--SonicLandscapes and the AudioNomad |
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142 | (1) |
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143 | (5) |
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148 | (2) |
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Logistical and Conceptual Challenges |
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150 | (2) |
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Teleportation and Other Worlds |
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152 | (3) |
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Theorem at the Paul Scherrer Laboratory |
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155 | (2) |
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157 | (3) |
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160 | (1) |
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161 | (2) |
| Bibliography |
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163 | (4) |
| Index |
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167 | |
John Potts is a professor of media and director of the Centre for Media History at Macquarie University, Australia. He has published widely in culture and technology, digital media, media history, contemporary arts and intellectual history. Prof. Potts has authored or edited 12 books, including The New Time and Space, A History of Charisma, Ideas in Time, Use and Reuse of the Digital Archive and The Future of Writing.
Nigel Helyer is a sculptor and sound artist whose work links art and science in a strong embrace of the environment, identity and cultural history. He has an international reputation for his large-scale public artworks, sound sculptures, environmental projects and interactive installations that prompt the community to engage with their cultural histories, identity and sense of place, inviting us to examine the abstract conditions of our world and our complex relationships with it.
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