Podcasts about BioArt

In this dialogue, Prof Christo Doherty, the Chair of Research in the Wits School of Arts, speaks to Stephen Hobbs, a South African artist whose work spans a wide range of media, exploring themes of urban transformation, architecture, and social dynamics. Known for his thought-provoking installations and public art projects, Stephen has a distinctive approach that often examines the hidden infrastructures of cities, and the intersection of natural and built environments. Stephen has an exhibition, a survey of his career of almost thirty years, entitled “Man Shouting in Distance” which is running at the Wits Art Museum until 23 November. Stephen earned his Bachelor of Fine Arts from the University of the Witwatersrand in Johannesburg in 1993. From 1994 to 2000, he served as the curator of the Market Theatre Galleries, fostering a dynamic space for contemporary art in the city. In 2001, he co-founded The Trinity Session with fellow Wits fine arts graduates Kathryn Smith and Marcus Neustetter. Trinity was an artist collaborative and public art consultancy dedicated to integrating art into urban environments. Stephen's own artistic practice often explored themes of city infrastructure and social dynamics, laying the groundwork for his later explorations into the intersections of art, architecture, and public space. Recently, Stephen has ventured into bio-art, working with mycelium—the root structure of fungi—to investigate natural systems that mirror urban networks. His innovative approach challenges us to reconsider the hidden connections that shape both our cities and our planet.” In this podcast we discuss Stephen's beginning as an artist, his family background, education and early influences, and how growing up in Johannesburg shaped his perspective as an artist. We go on to examine his strategies as an artist exploring the urban landscape, and negotiating the complexities of post-apartheid transformations in the Johannesburg geography. We also discuss Stephen's interest in strategies of deception and camouflage and how these have manifested in his practice. We then explore the range of mediums that Stephen has used to express his ideas and how his practice has evolved over his career. Finally we follow Stephen into a new terrain of practice - BioArt - in which he has been working with mycelia to explore the hidden connections between the structure of cities and the planetary environment. The opening of Stephen's mycelium based exhibition, The Visitors, at David Krut Projects · Stephen's 2019 exhibition Body Parts at David Krut Projects · Lesego Chepape's M&G review of The Visitors exhibition · The American

Dive into a world where art intersects with activism in this episode of the Design Atlas Podcast, featuring Elena Soterakis, a visionary artist dedicated to confronting environmental degradation, ecology, and sustainability. As the founder of an avant-garde gallery specializing in Bio Art, Elena pioneers a space that harmonizes art and science, crafting narratives that resonate with the urgent concerns of our modern global landscape. Through her artistic endeavors, educational initiatives, and immersive workshops, Elena encourages reflection on the intricate relationship between creativity and environmental stewardship. Beyond aesthetics, her work fosters a profound shift in our perception of the world. For Elena, community building forms the cornerstone of her mission—a testament to the transformative power of collaboration in addressing the defining challenges of our time. If you'd like to support the show or to learn more about Design Atlas, please visit www.designatlaspod.com. To get in touch with us, DM us on Instagram ⁠⁠⁠@designatlaspod⁠⁠⁠, tweet us ⁠⁠⁠@designatlaspod⁠⁠⁠, or send us an email at ⁠⁠hello@designatlaspod.com⁠⁠. You can also follow us on TikTok⁠ ⁠⁠@designatlaspod⁠⁠⁠. Produced by Jens Bringsjord and Megan Luedke. Sound engineered and edited by Jens Bringsjord. All rights reserved. ©2024 Design Atlas Media. --- Send in a voice message: https://podcasters.spotify.com/pod/show/design-atlas-pod/message Support this podcast: https://podcasters.spotify.com/pod/show/design-atlas-pod/support

How do artists engage living bodies as creative material? How do they engage our ideas and assumptions of what we consider a body to be and what a body can do? How do they challenge the principles of what life is and the relations we take for granted?    For this podcast, we invited philosopher, researcher and labour organizer Mijke van der Drift to engage with Agnieszka Anna Wołodźko, lecturer and researcher teaching contemporary philosophy and art-science at AKI Academy of Art and Design ArtEZ. Thinking through the lens of contamination, Agnieszka's recently published book Affect as Contamination: Embodiment in Bioart and Biotechnology uses bioart projects as provocative case studies to rethink affect and bodily practices. Departing from her book, they reflect upon the desire for transformation and the need for its control in our daily infrastructures, ranging from biotechnology and pharmaceutical industries to food production and healthcare.    What ethical frameworks are needed to organize and guide our actions when confronted with hard questions and uncomfortable situations that come up when engaging living matter as a creative material? How do we recognize what needs to change and for whom? Can ethics and art prompt us to become more joyful and accountable to transformative processes of justice?   We invite you to listen to this conversation and reflect upon the risks involved when artists experiment with bodies and living matter, and to think through which ‘anchors' can orient us through the transformation that life inevitably begets.   Show notes   -       Marion Laval-Jeantet and Benoît Mangin, May the Horse live in me! https://dublin.sciencegallery.com/blood-1/may-the-horse-live-in-me-#:~:text=The%20performance%20May%20the%20Horse,an%20injection%20of%20horse%27s%20blood.   -       The Center For Genomic Gastronomy, Smog Tasting: Smog Synthesizer https://genomicgastronomy.com/work/2015-2/smog-synthesizer/   -       Adriana Knouf, Xenological Entanglements. 001a: Trying Plastic Variations https://tranxxenolab.net/projects/eromatase/ -       Be-wildering by Jennifer Willet & Kira O'Reilly, 2017, performance https://waag.org/en/event/performance-be-wildering-jennifer-willet-kira-oreilly/ -           -       Book Deleuze & Guattari, A Thousand Plateaus: Capitalism and Shizophrenia 1980   -       Bio artist Boo Chapple invited by Prof. Rob Zwijnenberg's honours class Who owns Life? at Leiden University     -       Baruch Spinoza, Ethics https://plato.stanford.edu/entries/spinoza/#Ethi   -       Špela Petrič, Confronting Vegetal Otherness: Skotopoiesis – semiotic triangle, 2015 https://www.spelapetric.org/scotopoiesis -          Sandilands, Catriona (2017), ‘Vegetate', in J. J. Cohen and L. Duckert (eds), Veer Ecology: A Companion for Environmental Thinking, Minneapolis: University of Minnesota Press, pp. 16–29. https://www.academia.edu/50082847/Vegetate     -       Marion Laval-Jeantet and Benoît Mangin, May the Horse live in me! https://dublin.sciencegallery.com/blood-1/may-the-horse-live-in-me-#:~:text=The%20performance%20May%20the%20Horse,an%20injection%20of%20horse%27s%20blood.   -       Donna Haraway, Response-ability in her book Staying with the Trouble: Making Kin in the Chthulucene. Durham, NC: Duke University Press Books, 2016. See lecture: https://www.youtube.com/watch?v=GrYA7sMQaBQ   -       Gilles Deleuze and Félix Guattari, What Is Philosophy? Translated by Graham Burchell and Hugh Tomlinson. London etc: Verso, 1994. See:  https://plato.stanford.edu/entries/deleuze/#WhatPhil   -       Jacques Ellul: Stanford Encyclopedia of Philosophy. https://plato.stanford.edu/entries/technology/   -       Michel Serres, Birth of Physics, clinamen press 2000   -       The Center For Genomic Gastronomy   https://genomicgastronomy.com/work/2009-2/community-meat-lab/   -       Adriana Knouf, Xenological Entanglements. 001a: Trying Plastic Variations https://tranxxenolab.net/projects/eromatase/       -       Rossi Braidotti : https://rosibraidotti.com/ -          Lem, Stanisław (2012), Przekładaniec [Layer Cake]. Warszawa: Agora, e-book. Andrzej Wajda, (1968), Layer Cake, https://www.imdb.com/title/tt0063468/    -       Gilles Deleuze Difference and Repetition. Translated by Paul Patton. New York: Columbia University Press, 1995. See: https://plato.stanford.edu/entries/deleuze/#DiffRepe   -       Denise Ferreira da Silva, On difference without separability https://static1.squarespace.com/static/574dd51d62cd942085f12091/t/5c157d5c1ae6cf4677819e69/1544912221105/D+Ferreira+da+Silva+-+On+Difference+Without+Separability.pdf   -       Michel Foucault https://plato.stanford.edu/entries/foucault/   -       Immanuel Kant https://plato.stanford.edu/entries/kant/   -       Paul B. Preciado, Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era. Translated by Bruce Benderson. New York: The Feminist Press at CUNY, 2013   -       Dr Luciana Parisi https://scholars.duke.edu/person/Luciana.Parisi   -       The Commons https://www.newyorker.com/culture/essay/the-theft-of-the-commons     About   Agnieszka Anna Wołodźko, is a lecturer and researcher teaching contemporary philosophy and art-science relations at AKI Academy of Art and Design ArtEZ since 2017. At AKI, Artez she has founded a biolab space where she runs a BIOMATTERs, an artistic research programme that explores how to work with living matters through hands on engagement, where difficult philosophical, ethical and ecocritical questions are not only discussed but also tangibly faced. Her research focusses on post-humanism, ecocriticism, affect theory and new materialism at the intersection of art, ethics and biotechnology.   Her book Affect as Contamination. Embodiment in Bioart and Biotechnology is thus a result not only of her PhD research, but also her work as an experimentative educator, where next to analytical discussion on embodiment she reveals personal, intimate and often difficult because risky implications of being a body outside the possibility of innocence. Contamination equally in her writing and work as an educator, becomes  a way of thinking as well as a way of being that implies reimagination of not only what it means to be a body in the age of biotechnological manipulation, but also how to care and feel responsible when practicing embodiment.   Mijke van der Drift   Mijke van der Drift is a philosopher and educator working on ethics, trans studies, and anti-colonial philosophy. Mijke is a tutor at the Royal College of Art, London. Mijke's work has appeared in the Journal of Speculative Philosophy, the Journal of Aesthetics and Culture, in various independent publications as well as chapters in The Emergence of Trans (Routledge 2020), and The New Feminist Literary Studies Reader (Cambridge UP 2020). Van der Drift is founding member of the art collective Red Forest. They have made work for the Milano Triennale (2022), the Helsinki Biennale (2023) as part of their research into Extractivism, Fossil Fascism, and cultures of resistance. With Nat Raha, Mijke is writing Trans Femme Futures.      

Normally people put posters or paintings on their wall but Chris Ritson is opening up the possibility for people to put living mushroom art in their home. Bioart is the process that people work with biology to make art, and Chris takes it a bit further by making self destructive bioart art, meaning it's meant to naturally decompose in your garden at the end of it's life.Sign up for our podcast giveaway here. Our next winner will be selected on July 24, 2023 and contacted via email.www.mushroomrevival.comWe are a functional mushroom company and make 100% certified USDA Organic and Vegan mushroom supplements. We are transparent with our lab results, and use actual fruiting bodies aka mushrooms! We provide our supplements in tincture, capsule, powder, and delicious gummy form. Energy (Cordyceps): Need a little pick-me-up before a workout or when you're picking up your kids from school? The Energy Cordyceps is the mushy match for you.Focus (Lion's Mane):  Needing a little more focus in your daily life? Lion's Mane is known to be the mushroom for the brain and may support cognitive function.Calm (Reishi): Looking for some tranquility and zen in your life? Reishi will bring you into the zen state of mind you've been searching for.Daily 10 (Mushroom Mix): It's like having 10 bodyguard mushrooms fighting off all those bad guys. This is a good place to start as it contains all of the daily mushies you need. Not sure where to begin? Take our mushroom quiz here.Use code ‘PODTREAT' for a 30% discount.

Founded by Prof Leora Farber, Director of the Visual Identities in Art and DesignSee omnystudio.com/listener for privacy information.

Schüttelinkubator, Electrospinning, Autoklav und Sterilbank - Mit seinen besonderen Apparaturen hebt sich das BioLab der Burg von den restlichen Werkstätten wie Holz, Metall und Keramik ab. In Folge 59 des Hurra Hurra Podcast sprechen die beiden Mitarbeiter des Labs, Johann Bauerfeind und Dr. Falko Matthes, mit Christian Zöllner darüber, welche Möglichkeiten Studierenden dort offenstehen. Außerdem geben sie Einblicke in ihre eigene Forschung zur Verarbeitung von Chitosan, zur Verbindung lebendiger Prozesse und Organismen mit industriellen Fertigungstechniken und berichten über die Vernetzungsarbeit des Labs über die Grenzen der Hochschule hinaus.

In this dialogue Prof Christo Doherty of ARA speaks to Leora Farber Associate Professor and Director of the Visual Identities in Art and Design Research Centre, in the Faculty of Art, Design and Architecture, University of Johannesburg . Under Leora's leadership the Centre has become a vibrant hub where an international community of visiting professors, research associates, and postdoctoral fellows have conducted interdisciplinary research over the last fifteen years around the theme of African and African diasporic histories and identities; with visual practice and questions of representation at the centre of their investigations. Recently Leora has opened up a new thematic current at the centre exploring the connections between art, design and the life sciences through a bio lab due to be launched in 2023. We explore both currents in this podcast. In addition to directing the VIAD Centre, Leora is an artist, academic, editor, curator and post-graduate supervisor. She obtained a BA Fine Art at the University of the Witwatersrand, followed by an MA Fine Art (cum laude) also from Wits, and then DPhil in Visual Art at the University of Pretoria. She has exhibited both nationally and internationally, with interdisciplinary works that deal with the concerns of the body, embodiment, abjection, and activities historically associated with women's work and domestic objects. A strongly feminist thematic which she has pursued since her first performance installation, entitled A Room of Her Own, as The Premises in Johannesburg in 2006. In this discussion we explore Leora's personal trajectory and education as an artist and her early practice as a lecturer in Fine Arts. We look the reasons for the establishment of The Visual Identities in Art and Design Research Centre at the University of Johannesburg in 2007, the vision that Leora had for the Centre and the ways in which the planned research was actualised. We then discuss the important colloquium "On Making: Integrating Approaches to Practice-Led Research in Art and Design" that Leora organised at VIAD in 2009. The colloquium was the first gathering to explicitly explore the impact and implications of practice-led research in the South African context but also brought a wide range of European perspectives into the conversation. We then examine Leora's move into an engagement with bioart, her initial collaborations with bioscientists at the University of Johannesburg, and her residency in 2019 on the SymbiotikA programme at the University of Western Australia. We explore whether bioart is a break with the concerns articulated by the work at VIAN or if it takes these concerns further into the ambit of post humanist and new materialism and we assess the implications of this work for the decolonial project. Useful links: The VIAD website: https://www.viad.co.za/ The "On Making" conference proceedings. All papers available as downloadable PDFs: https://www.viad.co.za/edited-volume-imaging-ourselves The SymbiotikaA website with details of Leora's 2019 residency: https://www.symbiotica.uwa.edu.au/

In this dialogue Prof Christo Doherty of ARA speaks to Leora Farber Associate Professor and Director of the Visual Identities in Art and Design Research Centre, in the Faculty of Art, Design and Architecture, University of Johannesburg . Under Leora's leadership the Centre has become a vibrant hub where an international community of visiting professors, research associates, and postdoctoral fellows have conducted interdisciplinary research over the last fifteen years around the theme of African and African diasporic histories and identities; with visual practice and questions of representation at the centre of their investigations. Recently Leora has opened up a new thematic current at the centre exploring the connections between art, design and the life sciences through a bio lab due to be launched in 2023. We explore both currents in this podcast. In addition to directing the VIAD Centre, Leora is an artist, academic, editor, curator and post-graduate supervisor. She obtained a BA Fine Art at the University of the Witwatersrand, followed by an MA Fine Art (cum laude) also from Wits, and then DPhil in Visual Art at the University of Pretoria. She has exhibited both nationally and internationally, with interdisciplinary works that deal with the concerns of the body, embodiment, abjection, and activities historically associated with women's work and domestic objects. A strongly feminist thematic which she has pursued since her first performance installation, entitled A Room of Her Own, as The Premises in Johannesburg in 2006. In this discussion we explore Leora's personal trajectory and education as an artist and her early practice as a lecturer in Fine Arts. We look the reasons for the establishment of The Visual Identities in Art and Design Research Centre at the University of Johannesburg in 2007, the vision that Leora had for the Centre and the ways in which the planned research was actualised. We then discuss the important colloquium "On Making: Integrating Approaches to Practice-Led Research in Art and Design" that Leora organised at VIAD in 2009. The colloquium was the first gathering to explicitly explore the impact and implications of practice-led research in the South African context but also brought a wide range of European perspectives into the conversation. We then examine Leora's move into an engagement with bioart, her initial collaborations with bioscientists at the University of Johannesburg, and her residency in 2019 on the SymbiotikA programme at the University of Western Australia. We explore whether bioart is a break with the concerns articulated by the work at VIAN or if it takes these concerns further into the ambit of post humanist and new materialism and we assess the implications of this work for the decolonial project. Useful links: The VIAD website: https://www.viad.co.za/ The "On Making" conference proceedings. All papers available as downloadable PDFs: https://www.viad.co.za/edited-volume-imaging-ourselves The SymbiotikaA website with details of Leora's 2019 residency: https://www.symbiotica.uwa.edu.au/

Episode Summary:Meanwhile patiently observing and exploring every single bit of the fascinating Unknown Unknowns. An Introduction to Mysteries exhibition at the 23rd International Exposition at Triennale Milano, curated by Ersilia Vaudo, we were mesmerised by an underwater robotic installation. In this episode we meet British bio artist Anna Dumitriu, who tells us more about the artwork ArcheaBot, reimagining what a post climate change life might be - a post singularity life-form. Based on a ground breaking research on archaea - a group of unicellular microorganisms believed to be the oldest form of life on earth - combined with the latest innovations in artificial intelligence and machine learning, Anna has collaborated with Alex May to create the ‘ultimate' species that can adapt to live in extreme conditions, able to survive the end of our world. The pioneering visual artist speaks about her extraordinary practice in between art and biology and the role of technology and artificial intelligence (AI) in an altered future life, laying the importance Alan Turing's Imitation Game has assumed in the philosophy of mind and quoting ideas of Elon Musk discussing possible solutions for Climate Change.The Speaker:Anna Dumitriu is an award winning, internationally renowned, British artist who works with BioArt, sculpture, installation, and digital media to explore our relationship to infectious diseases, synthetic biology and robotics. Her work is held in several major public collections, including the Science Museum London and Eden Project.Follow Anna 's journey on InstagramHosts: Farah Piriye & Elizabeth Zhivkova, ZEITGEIST19 FoundationSign up for ZEITGEIST19's newsletter at https://www.zeitgeist19.comFor sponsorship enquiries, comments, ideas and collaborations, email us at info@zeitgeist19.com Follow us on Instagram and TwitterHelp us to continue our mission and to develop our podcast: Donate

We all know the story of Sir Alexander Fleming's accidental discovery of penicillin. Similarly, the X-Ray, Insulin, and many more medical and scientific breakthroughs can be traced back to “happy accidents”. Each time the scientist attempted to do something else, found an odd thread and pulled it. Had they not seen it, or decided not to pull it, our modern human experience would have been drastically different. These types of anomalies and variations happen all the time. But we don't always embrace them. In fact, many of us go out of our way to avoid them altogether. And when they do occur, we may be reluctant to be “distracted” by them. Much of our culture values focus and simplicity. “Eyes on the prize”, “Keep it Simple Stupid”, and all that. But how many penicillins, X-rays, and insulins remain undiscovered because of our “efficiency”? Today's guest takes a different approach. Anna Dumitriu is an award-winning British artist who works with BioArt, sculpture, installation, and digital media to explore our relationship to infectious diseases, synthetic biology, and robotics. Anna prefers to “reveal the strangeness” of things… to help us confront the unusual and uncomfortable … to acknowledge the complexity and the beauty around us. Anna's curiosity and her drive to confront the complexities of our world have taken her on a truly fascinating journey. She's edited genes with CRISPR, extracted DNA from killed Yesinia pestis bacteria for her Plague Dress, explored the ethics of artificial intelligence, and much more. Anna calls this “unnecessary research” and she believes it creates opportunities for discovery. It puts her and her colleagues in a place where happy accidents are more likely to occur. We explore why and how Anna does what she does. How her path evolved and led to working side-by-side with scientists in the lab. And why you just might want to consider doing a bit more unnecessary research in your next project. For full show notes and links, visit: https://deepdive.tips/

Today, on the Hudson Mohawk Magazine, We begin with Mark Dunlea speaking with Bob Cohen of Citizen Action about an upcoming Earth Day rally. Then, we dig into our archives for a segment by Meghan Marohn, our Hudson Mohawk Magazine Producer who is currently missing, in which she rows on the rivers with Dick Sleeper. Later on, we hear from Heroic Hearts Project about why the legalization of psychedelics could benefit people living with PTSD. After that, Brea Barthel heads to the Troy Public Library to Talk About Books for April picks for kids with Carol Roberts. Finally, we get a sneak peak of Friday's BioArt talk with Evo Devo artist Anna Lindemann.

Join us for this virtual session of the series BioArt Talks @CBIS, presented in conjunction with RPI's Center for Biotechnology Interdisciplinary Studies; the Arts department in the School of Humanities, Arts and Social Sciences; and the Sanctuary's NATURE Lab. Aisen Caro Chacin presents this Friday's talk "BioArt + Assistive Device Art: Transformation of Ability and Perception, the Plasticity of the Mind, and Human Expansion." She spoke with HMM's Sina Basila Hickey about her interactive art, bioethics, and making open source designs for life saving needs. More info: https://www.mediasanctuary.org/project/bioart-talks-cbis/

Have you ever heard about bioart? Did you know that microbial biofilms and fungal cultures on Petri dishes can become pieces of art? All this and much more you can discover in my interview with Uppsala based artist Amanda Selinder. In her work Amanda fuses her background in fine art and her passion for textiles and natural pigments with her curiosity for biological processes. The latest outcome were fascinating pieces of artwork that give a glimpse into the life and biology of endophytic fungi isolated from leaves. In this podcast interview we talked about - How her interest for fine art emerged - How she discovered bioart and what can be done with it - Why she decided to go back to university to study biology - How she dyes silk with natural pigments from fungi - How this arts project has developed into a scientific study Brew yourself a cup of tea and enjoy this interview!

For over a decade, the Bioart Scientific Image and Video Competition has provided an artistic vehicle for biological scientists to share their research beyond the confines of their lab and professional circles. Chris Curran, one of the Bioart judges, joins the Lab Out Loud podcast to talk about the Bioart competition, the intersection of art and science, and how teachers might use stunning visuals to inspire students and advance scientific literacy. About the Guest: Christine Perdan Curran is a professor of biological sciences at Northern Kentucky University and director of the NKU Neuroscience Program. She also represents the Society for Birth Defect Research & Prevention for the FASEB board, and serves as a judge for the FASEB Bioart competition. Show notes at: https://laboutloud.com/2022/01/episode-259-bioart/

Olá, Bio-ouvintes! Chegou mais um episódio especial na nossa série Bioart Internacional! Nesse episódio conversamos sobre uso de técnicas de Física em medição de campos magnéticos no estudos das famosas plantas carnívoras "venus flytrap" ou apanha-moscas. Nossa convidada é a doutoranda estadunidense Anne Fabricant, que nos conta sobre seu trabalho na Alemanha com a espécie e os estudos de seu artigo: "Potenciais de ação induzem campos biomagnéticos em plantas carnívoras".   Potenciais de ação induzem campos biomagnéticos em plantas carnívoras apanha-moscas   Contatos – Bio In Situ cartinhas@biologiainsitu.com.br Instagram, Facebook e LinkedIn: @biologiainsitu Twitter e TikTok: @bioinsitu   Curso de escrita científica cursos@biologiainsitu.com.br   Apoio padrim.com.br/biologiainsitu Picpay: @biologiainsitu Pix: cartinhas@biologiainsitu.com.br   Créditos Locução: Ricardo Gomes. Convidado: Anne Fabricant. Edição de Áudio: Déborah Henriques, Ligia Pagliotto e Ricardo Gomes. Dublagem: Duda Verderio – @dudaverderio

Hello, bio-listeners! Once more we bring to you a special english spoken episode. This time with PhD candidate Anne Fabricant to talk to us about her research on biomagnetic field measurements in carnivorous plants. Action potentials induce biomagnectic fields in carnivorous Venus flytrap plants   Contacts – Bio In Situ cartinhas@biologiainsitu.com.br Instagram, Facebook and LinkedIn: @biologiainsitu Twitter e TikTok: @bioinsitu   Scientific Writing Course cursos@biologiainsitu.com.br   Support padrim.com.br/biologiainsitu Picpay: @biologiainsitu Pix: cartinhas@biologiainsitu.com.br   Credits Host: Ricardo Gomes. Guest: Anne Fabricant. Audio Editing: Déborah Henriques, Ligia Pagliotto and Ricardo Gomes.

Olá, bio-ouvinte! Nesse episódio especial internacional, nós recebemos o Professor Doutor Alan McElligott da City University of Hong Kong, para falar sobre um trabalho desenvolvido com cangurus e o comportamento de olhar para as pessoas procurando por ajuda quando se deparam com uma tarefa impossível de ser resolvida. O papo foi bom demais! Se preferir, acompanhe também a conversa em sua versão original com áudio em inglês no post do site: Canguru staring contest   Contatos – Bio In Situ cartinhas@biologiainsitu.com.br Instagram, Facebook e LinkedIn: @biologiainsitu Twitter e TikTok: @bioinsitu   Curso de escrita científica cursos@biologiainsitu.com.br   Apoio padrim.com.br/biologiainsitu Picpay: @biologiainsitu Pix: cartinhas@biologiainsitu.com.br   Créditos Locução: Ricardo Gomes. Convidado: Alan McElligott. Edição de Áudio: Déborah Henriques, Ligia Pagliotto e Ricardo Gomes. Dublagem: Duda Verderio - @dudaverderio

Hello, bio-listeners! In this new endeavor of ours we received Dr. Alan McElligott (Centre for Animal Health and Welfare, City University of Hong Kong) to talk about his work envolving the behaviour of kangaroos when faced with unsolvable problem tasks. Welcome to Biology In Situ! Portuguese version: Cangurus: bem o mal encarados?   Contacts – Bio In Situ cartinhas@biologiainsitu.com.br Instagram, Facebook and LinkedIn: @biologiainsitu Twitter e TikTok: @bioinsitu   Scientific Writing Course cursos@biologiainsitu.com.br   Support padrim.com.br/biologiainsitu Picpay: @biologiainsitu Pix: cartinhas@biologiainsitu.com.br   Credits Host: Ricardo Gomes. Guest: Alan McElligott. Audio Editing: Déborah Henriques, Ligia Pagliotto and Ricardo Gomes.

Jennifer Sirey is a Brooklyn based artist. Her process-driven sculpture engages organic materials and natural phenomena, incorporating glass, liquids, wax, bacteria, algae, and wood in monolithic, architectural forms. For years Jennifer has been refining a process of growing Acetobacter, or Mother of Vinegar as a building material to construct living sculptures. 

https://www.missingwitches.com/?p=1973

Happy September to you all! Welcome to another episode of The AMR Studio, this time featuring an interview with artist Anna Dumitriu. Tune in to listen to how Anna became so interested in bacteria and antibiotic resistance that she decided to make it a central part of her artwork. We also talk about the implications of science in art, how art and science can help one-another and what she aims to create with her pieces. In the news, we bring you a recent study looking into the details of access to recently developed antibiotics (or lack of thereof) in 14 high-income countries. We hope you enjoy and have a good time with us! Check relevant links in the show notes at www.uac.uu.se/the-amr-studio/episode32/. Follow our updates on twitter on www.twitter.com/uac_uu with #theAMRstudio hashtag! Theme music by Henrik Niss: www.tinyurl.com/henriknissspotify.

Anna Dumitriu is an internationally renowned Bio-Artist who has pioneered artistic creations threading the fields of microbiology and infectious diseases, synthetic biology as well as artificial life and intelligence. On this special episode, we explore her conception of the "sublime" in the bacterial world, bacteria as vessels of poetry and beauty, symbiosis in the living world and whether we should anthropomorphise biology ( with detours via the history of antibiotics, neural networks and what it means to be living) Some of her projects that we discuss include "Make Do and Mend", "Archaeabot", "HyperSymbiotics" and "Fermenting Futures", links to which can be found on her main website https://annadumitriu.co.uk

In this episode, we were able to have an in-depth conversation surrounding not just Amy Karle's major artworks using 3D printing and Bioprinting, but also her personal journey as a bioartist and the meanings behind her artworks.  The two works we focused on include :1. Regenerative Reliquary, which is a bioprinted scaffold with stem cells in the shape of a hand in a bioreactor to grow bone tissue2. Heart Evolution, which is an artistic alternative design for a "better" heart that potentially could avoid existing Some of the questions we explored include:What does bioprinted organ replace imply to humanity and our identities?Who has the right to live and access the new and expensive technology that can prolong life?Who will have access to bioprinted or 3D printed medical devices first? What makes something beautiful (Aesthetics)?Why is it important to make something beautiful (or not)?What is the role of an artist in terms of aesthetics?Why is 3D printing (especially in medicine) often perceived as beautiful?How does an artist feel about generative design? Threatened by robots?  Youtube ShownotesInstagramBlogsAbout our guest: Amy Karle is an internationally award-winning bioartist whose work can be seen as artifacts of a speculative future when digital, physical, and biological systems merge. Her work opens future visions of how technology could be utilized to support and enhance humanity while making advancements towards those goals in the process.In the process of making the artwork, Karle utilizes the technological tools in question and collaborates directly with science and technology to create a joint space for imagination, exploration, and creation. Current projects probe who we could become as a result of exponential technologies and how interventions could alter the course of our future.Karle has exhibited in prestigious museums worldwide, including at the Smithsonian, USA; The Mori Museum, Japan; The Centre Pompidou, France; Beijing Media Arts Biennale, China; Ars Electronica, Austria; and is regularly invited to share her insights as an expert speaker and in think tanks. Karle was honored as one of “BBC's 100 Women”, has been named one of the “Most Influential Women in 3D Printing”, and was Grand Prize Winner of the "YouFab Global Creative Award". Karle was also an Artist Diplomat through the U.S. Department of State tasked with women's empowerment and supporting collaborations using art and technology to address social issues. The long-term goals of her work are to continue to pioneer in the art and tech field and make contributions to the advancement of society, technology, and healthcare in the process. www.amykarle.comSupport the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=STF9STPYVE2GG&source=url)

Andrea Macdonald, founder of ideaXme interviews Amy Karle BioArtist. https://www.amykarle.com​. Listen to the the interview to discover why Amy would like to collaborate with an exponential technologist, furthermore her view on the interface between exponential technology and ethics. Amy Karle is an internationally award-winning BioArtist working at the nexus of where digital, physical and biological systems merge. Karle is also a provocateur and a futurist, opening future visions of how art, science, and technology could be utilized to support and enhance humanity while making advancements in the technology towards those goals in the process of making her artworks. Current projects probe who we could become as a result of our exponential technologies and how interventions could alter the course of our future. Karle has shown work in 54 international exhibitions, including at: The Centre Pompidou, France; The Mori Art Museum, Japan; The Smithsonian, USA; Ars Electronica, Austria; Beijing Media Arts Biennale, China; Centrum Nauki Kopernik, Poland; FILE International Electronic Language Festival, Brazil. Karle is also regularly invited to share her innovations and insights as an expert speaker and in think tanks world-wide. She was honored as one of “BBC’s 100 Women”, has been named one of the “Most Influential Women in 3D Printing”, was Grand Prize Winner of the “YouFab Global Creative Award” and is a Fellow with Salzburg Global Seminar. Karle was also an Artist Diplomat through the U.S. Department of State tasked with diplomacy, social innovation, women’s empowerment, and supporting cross disciplinary collaborations using art and technology to address social issues. Her work speaks to a wide audience as it inspires exploration into what it means to be human and encourages us to contemplate the impacts of technology on our future. The long-term goals of her work are to continue to pioneer in bioart and the art and tech fields and make contributions to the advancement of society, technology and healthcare in the process. Discussed in this interview: Amy's human story. How "rich connectedness" within both her personal and professional life has moved her work forward. Her work as a bioartist, futurist and explorer. Her invitation to top exponential technologist to collaborate. ideaXme is a global network that promotes knowledge of the future. ideaXme is a podcast available on 12 platforms, in 40 countries world-wide. ideaXme is also a think tank, a creator series and mentor programme. Want to suggest someone for us to interview for our exponential technology and ethics playlist/alternatively a guest interviewer for this playlist? Please email info@ideaxme.com.

Listen as Andy Bertera explains the Passion in Science Awards and shares stories of some of his favorite winners on the NEB Podcast.

Olá, bio-ouvinte! Bem-vinda ao primeiro episódio de 2021!  Com vocês, mais um episódio da série Bioart, nossa série onde conhecemos artigos publicados em revistas científicas.  Contamos com a presença de um dos autores do artigo científico, intitulado: "Avaliação de serviços ecossistêmicos na gestão de áreas verdes urbanas: "Promovendo cidades saudáveis e sustentáveis." Você se interessa por sustentabilidade?  Então venha conferir essa conversa que foi super esclarecedora!  Espero os comentários e sugestões de vocês! Contatos Guilherme Gaudereto: guilherme.gaudereto@usp.br cartinhas@biologiainsitu.com.br Facebook e Instagram: @biologiainsitu Twitter: @bioinsitu Apoio padrim.com.br/biologiainsitu picpay.me/biologiainsitu Créditos Edição: Raissa Bella.  

Olá, bio-ouvinte! Bem-vinda ao último episódio de 2020!  Calma, calma!!! Não criemos pânico! Daremos uma pausa para as festas de final de ano. Em 2021, voltaremos firmes e fortes com muitas novidades!  Esperamos que sua experiência com o Biologia In Situ tenha sido tão boa que você sinta vontade de compartilhar com todo mundo! Esses 4 meses foram de grande aprendizado, trabalho, parcerias, conquistas e alguns erros também, porém, queremos agradecer a todos que nos acompanharam de todas as maneiras, seja pelos agregadores, site, mídias sociais e apoio financeiro. Vemos vocês em 2021! Fique até o final do episódio que tem surpresa pra você!   As referências utilizadas para o desenvolvimento dessa pauta, estão no post deste episódio no site biologiainsitu.com.br   Contatos cartinhas@biologiainsitu.com.br Instagram e Facebook: @biologiainsitu Twitter: @bioinsitu   Apoio padrim.com.br/biologiainsitu picpay.me/biologiainsitu   Créditos Desenvolvimento de pauta: Ricardo Gomes Locução: Cristianne Santos, Gabriel Oliveira, Heloá Caramuru, Raissa Bella, Renata Santos e Ricardo Gomes Edição: Ricardo Gomes

In this installment of the Future Grind podcast host Ryan O'Shea is joined biohacker, artist, & researcher Dr. J.J. Hastings. J.J. is a biohacker, artist, and researcher consistently blurring the line between art and science. She is a graduate of NYU, Harvard, Oxford, and London's Saint Martins with advanced degrees in Biology, Fine Art, and Bioinformatics. She's been a biohacker for over a decade, and her artwork has been exhibited around the world. In recent years J.J. has turned much of her attention to analog space missions, through which she conducts social, psychological, and scientific experiments that will pave the way for human missions to Mars and beyond. They discuss her Manifesto of Transfiguration, the relationship between art and science, hackers in space, and much more. Show Notes: https://futuregrind.org Subscribe on Apple Podcasts: https://podcasts.apple.com/us/podcast/future-grind-podcast-science-technology-business-futurism/id1020231514?id=1020231514 Support: https://futuregrind.org/support Follow along - Twitter - https://twitter.com/Ryan0Shea Instagram - https://www.instagram.com/ryan_0shea/ Facebook - https://www.facebook.com/RyanOSheaOfficial/

In this episode, to accompany our other interrogations of the creative industries such as theatre and music under pressure, we're looking at visual arts. Some might assume the visual arts world has fared OK in lockdown, nothing like the industry of performance and festivals reliant on people gathering together. We've read commentary on why crises are good inspiration for painters and makers, especially when critical theory always likes to consider movements and scenes in historical contexts - aligned with big moments in the human experience. But with galleries disrupted, art fairs shut and everything trying to replicate itself online - have artists actually struggled to make sense of this, have they been unable to show their work and engage with audiences? When the visual arts is often the barometer of what people are thinking, feeling and raging against at any particular time - what will contemporary artworks say about the year 2020 when we have the luxury of looking back? Answering our questions are three special guests - Dan Thompson is one of the UK's leading community artists, writers and social activists based in Margate; Hayley Dixon is Deputy Director of Focal Point Gallery in Southend-on-Sea and Anna Dumitriu is a multi award-winning visual artist, writer and researcher working at the cutting edge of BioArt and the exploration of infectious disease and synthetic biology through sculpture and digital media. -- Useful links: https://mrdanthompson.wordpress.com/ https://bridgepointrye.com/artists/dan-thompson/ https://www.fpg.org.uk/ https://annadumitriu.co.uk/ https://en.wikipedia.org/wiki/Anna_Dumitriu — For more information on how you can get involved with The Possibility Club – an inclusive community of professionals working out what's next, have a look here. We'd also love to know what you think. Please review and share your responses to this podcast on your favourite podcast platform. This is an always possible podcast. The interviewer was Richard Freeman for always possible and the producer was Chris Thorpe-Tracey for Lo Fi Arts.

Conversations avec...un article. C'est 10-15 minutes où je rends compte d'un article scientifique récent paru dans une revue en sciences humaines et sociales. Episode 11 : de la mouche au déchet, vie et mort dans les laboratoires scientifiques. L'article original : Tara Mehrabi, "Queer Ecologies of Death in the Lab: Rethinking Waste, Decomposition and Death through a Queerfeminist Lens", Australian Feminist Studies, juin 2020, p. 1‑17. --------- les références mobilisées par l'autrice et implicitement ou explicitement utilisées dans le podcast : Cecilia Åsberg et Jennifer Lum,"Picturizing the Scattered Ontologies of Alzheimer's Disease: Towards a Materialist Feminist Approach to Visual Technoscience Studies", European Journal of Women's Studies, 2010, 17 (4), p. 323–345. Tarsh Bates, "Performance, Bioscience, Care: Exploring Interspecies Alterity", International Journal of Performance Arts and Digital Media, 2014, 10 (2), p. 216–231. Mary Douglas, De la souillure, Paris, La Découverte, 2005. Donna J. Haraway, Vivre avec le trouble, Les Éditions des mondes à faire, 2020. Catriona Mortimer-Sandilands et Bruce Erickson, Queer Ecologies: Sex, Nature, Politics, Desire, Bloomington: Indiana University Press, 2010. Marietta Radomska, Uncontainable Life: A Biophilosophy of Bioart. Linköping, Linköping University Electronic Press, 2016. Wibke Straube, "Toxic Bodies: Ticks, Trans Bodies, and the Ethics of Response-Ability in Art and Activist Writing", Environmental Humanities, 2019, 11 (1), p.216–238. --------- Pour aller plus loin : **Sur l'écologie et le vivant** : Roberto Barbanti et Lorraine Vernier (ed.), Les Limites du vivant, Éditions Dehors, 2016. Florence Burgat et Christian Sommer (dir.), Le Phénomène du vivant. Buytendikj et l'anthropologie philosophique, MétisPresses, 2016. Emanuele Coccia, La vie des plantes: Une métaphysique du mélange, Éditions Rivages, 2018. Geremia Cometti et al. (dir.), Au seuil de la forêt. Hommage à Philippe Descola, l'anthropologue de la nature, Totem, 2019. Vinciane Despret, Habiter en oiseau, Éditions Actes Sud, 2019. Nastassja Martin, Croire aux fauves, Editions Gallimard, 2019. Baptiste Morizot, Manières d'être vivant: Enquêtes sur la vie à travers nous, Éditions Actes Sud, 2020. Marin Schaffner, Un sol commun. Lutter, habuter, penser, Éditions Wildproject, 2019. **Sur la théorie queer, le genre et corps** : Maxime Cervulle et Nelly Quemener, "Queer" dans Juliette Rennes (dir.), Encyclopédie critique du genre, La Découverte, 2016. Maxime Cervulle, Nelly Quemener et Florian Vörös, Matérialismes, culture et communication - Tome 2: Cultural Studies, théories féministes et décoloniales., 1ʳᵉ éd. Transvalor - Presses des mines, 2016. Stevi Jackson et Christine Delphy, "Genre, sexualité et hétérosexualité : la complexité (et les limites) de l'hétéronormativité", Nouvelles Questions Feministes, Vol. 34(2), 2015, p. 64‑81. Marietta Radomska, Tara Mehrabi et Nina Lykke, "Queer Death Studies: Death, Dying and Mourning from a Queerfeminist Perspective", Australian Feminist Studies, 35(104), 2020, p. 81‑100. **Sur la vie de laboratoire** : Bruno Latour, Steve Woolgar et Michel Biezunski, La vie de laboratoire, Paris, La Découverte, 2006. **Sur la charogne** : Hicham-Stéphane Afeissa, Esthétique de la charogne, Bellevaux, Dehors, 2018. **Sur l'indétermination** : Gilles Deleuze, Critique et clinique, Éditions de Minuit, 1993. Léna Dormeau, "Pour une épistémologie liminale", Espaces réflexifs, situés, diffractés et enchevêtrés, Adresse : https://reflexivites.hypotheses.org/11594 [Consulté le : 27 juin 2020]. Anne-Sophie Giraud, "Le statut liminal du fœtus mort en France. Du "déchet anatomique" à l'"enfant"", Techniques & Culture. Revue semestrielle d'anthropologie des techniques, (65‑66), 2016, p. 60‑63.

Joe Davis is a research affiliate at the Department of Biology at MIT, and the godfather of bioart and space art.

In this episode, scholar, teacher, and artist Dalila Honorato talks about Taboo, Transgression, and Transcendence in Art and Science conference, about her bioart project contemplating the agency of surgical leftovers. We also discuss FEMeeting: Women in Art, Science, and Technology, where Dalila is one of the founding committee members.

Richard F Adams speaks to Anna Dumitriu, a British artist who works with BioArt, sculpture, installation and digital media to explore our relationship to infectious diseases, synthetic biology and robotics. Anna exhibits internationally, is a renowned speaker and her work has been featured in many books including “Bio Art: Altered Realities” published by Thames and Hudson in 2016. During this episode Richard and Anna talk about various diseases, how they are presented in the media and her approach to working with them as an artist.

In this Biocoillider episode, Adam Zaretsky talks with Matej Vakula about multi-species collaborations in bioart. What does it mean to ask for permission, and how do we ask non-humans? Can language or training influence gene expression? What ideas truly underpin the aesthetics of transhuman enhancement? What does the hype around certain scientific discoveries--such as CRISPR--serve? These questions are only a few excerpts from the range of topics we discussed.

This episode is part of our Playlist series. We’re inviting artists, curators, architects, filmmakers, cultural producers and other listeners to share favorites from the archive. Based in Lisbon, German born artist Regina Frank has shown her work in New York, London, Los Angeles and Tokyo, among other cities globally. In recent projects, she explored environmental issues in performative installations at the Museum of Art Architecture and Technology, Lisbon, and BioArt 2018, Seoul, South Korea. Here, Regina Frank introduces our conversation with renowned video and performance artist Joan Jonas, an episode first released on June 5, 2012. Revisiting this episode is a moment to celebrate the latest chapter in Joan Jonas’s remarkable career. She represented the United States at the 56th Venice Art Biennale. In 2019, Jonas returns to Venice with an immersive, multimedia installation. Moving Off the Land II is the first public project in Ocean Space, a new global oceanic center in the restored Church of San Lorenzo. Regina Frank writes: I have been listening to Fresh Art since Cathy Byrd launched the podcast in 2011. One episode that I love features Cathy’s conversation with artist Joan Jonas. In 1991, I met Joan Jonas for the first time. She gave a lecture at the University of the Arts in Berlin. What a wonderful artist! I am fascinated and inspired by her creative approach to combining video, performance and drawing. She saw my work and suggested that I speak to the new museum of contemporary art in New York. They gave me their window and the cover of their newsletter and catalogue a few months later, which marked the beginning of my own career, in 1992. While I was in Venice for the 58th Art Biennale, I spent hours exploring Joan Jonas’s great project in the Church of San Lorenzo. I watched every video from beginning to end. Sound Editor 2019 Anamnesis Audio | 2012 Leo Madriz Special Audio: Jason Moran, “He Takes His Coat and Leaves” Feature photo: Joan Jonas, Moving Off the Land II, Ocean Space, Venice, 2019, courtesy TBA21 Academy Related Episodes: Joan Jonas on The Shape, The Scent, The Feel of Things, Art with a Sense of Placed, Part One, Regina Frank on Performing at the Intersection of Art and Technology Related Links: Joan Jonas, Ocean Space  

Amidst the greenery behind Strijp T lies BioArt Laboratories, where Jalila Essaïdi and her team work on bio-innovations. It is a place where creativity, design, technology and above all nature meet. DDW 2019 ambassador Jalila talks about her projects, talent development, and plans for the future.

Artist Catherine Telford-Keogh is in residency at the Pelling Laboratory for Biophysical Manipulation at the University of Ottawa. (She's Canadian!) Her recent sculptures are made out of cells on view at Interstate in Bushwick, NY. We talk art, energy drinks, healthcare, and getting kicked out of the United States. Donate to RAICES: https://www.raicestexas.org/ Show Notes: Catherine Telford-Keogh Pelling Laboratory for Biophysical Manipulation  Bioart  Monster lab drinks Healthcare Canada Henrietta Lacks Jasbir Puar Assemblages  Interstate Jessica Stockholder Rosalind Krauss Sculpture Never miss an episode of The Amy Beecher Show. Subscribe to our newsletter or follow us on Instagram and Facebook.  

Listen as Andy Bertera explains the Passion in Science Awards and shares stories of some of his favorite winners on the NEB Podcast.

"We said it would be really nice if the first tissue-engineered sculptures to be presented within a cultural context would be a something like a worry doll because it would express our anxieties and worries and the fact that it's not that simple." Hidden away in the School of Anatomy, Physiology and Human Biology at the University of Western Australia, is SymbioticA. It's a place where art is created - using living materials and scientific techniques - to make us think about what is happening in the world of biotechnology. Make no mistake, it IS as unique and unusual as it sounds. It's founders, Oron Catts and Dr Ionat Zurr are celebrated around the world for their pioneering works, including making the first piece of in-vitro meat and the victimless leather jacket which had to "die" spectacularly in the Museum of Modern Art on New York where it made it's debut.

Susan M. Squier's book, Epigenetic Landscapes: Drawings as Metaphor (Duke University Press, 2017)  is about development— biological and ecological. It explores how the media (paintings, films, graphics) that experts have created to understand development and to communicate without verbal language has shaped—and continues to affect—the worlds in which we live. Squier's book takes its title from a set of images from the embryologist C.H. Waddington, all meant to demonstrate his theory of how life developed—as a dynamic process emerging within multiple scales of time and space. The first Epigenetic Landscape was, literally, a landscape painting—thick and confounding—that Waddington commissioned from the artist John Piper. Over the next twenty years, Waddington created two additional images that suggested a less contextual, more individually focused conception of development. In her creative and persuasive book, Susan Squier follows iterations of the Epigenetic Landscape to spotlight moments of contingency in the new field of epigenetics in the 1960s and 1970s, when scientists had opportunities to follow interdisciplinary approaches, to emphasize multiple scales of time and space, and to take seriously process-oriented knowledge that defied orthodoxies of molecular genetics. Squier argues that attending to visual rhetoric of scientific fields, especially development, is an inroad both to understanding the history of those fields, and to imagining possible, more feminist, futures. In doing so, Squier shows that ways of knowing that have been separated as either “art” or “science” interact more often than is appreciated, and those lines of connection serve as important creative resources. Heeding her own call for transdisciplinary approaches, three chapters document how the Epigenetic Landscape has been used not only into embryology but also landscape design and bioArt. Squier is Brill Professor Emeritus of English and Women's, Gender, and Sexuality Studies at Penn State University. Her previous books include Liminal Lives and The Graphic Medicine Manifesto. This interview was a collaborative effort among participants in the Vanderbilt graduate seminar, Social Studies of Science & Medicine. For information about using NBN interviews as part of pedagogical practice, please email Laura Stark or see the essay “Can New Media Save the Book?” in Contexts (2015). Learn more about your ad choices. Visit megaphone.fm/adchoices

Susan M. Squier’s book, Epigenetic Landscapes: Drawings as Metaphor (Duke University Press, 2017)  is about development— biological and ecological. It explores how the media (paintings, films, graphics) that experts have created to understand development and to communicate without verbal language has shaped—and continues to affect—the worlds in which we live. Squier’s book takes its title from a set of images from the embryologist C.H. Waddington, all meant to demonstrate his theory of how life developed—as a dynamic process emerging within multiple scales of time and space. The first Epigenetic Landscape was, literally, a landscape painting—thick and confounding—that Waddington commissioned from the artist John Piper. Over the next twenty years, Waddington created two additional images that suggested a less contextual, more individually focused conception of development. In her creative and persuasive book, Susan Squier follows iterations of the Epigenetic Landscape to spotlight moments of contingency in the new field of epigenetics in the 1960s and 1970s, when scientists had opportunities to follow interdisciplinary approaches, to emphasize multiple scales of time and space, and to take seriously process-oriented knowledge that defied orthodoxies of molecular genetics. Squier argues that attending to visual rhetoric of scientific fields, especially development, is an inroad both to understanding the history of those fields, and to imagining possible, more feminist, futures. In doing so, Squier shows that ways of knowing that have been separated as either “art” or “science” interact more often than is appreciated, and those lines of connection serve as important creative resources. Heeding her own call for transdisciplinary approaches, three chapters document how the Epigenetic Landscape has been used not only into embryology but also landscape design and bioArt. Squier is Brill Professor Emeritus of English and Women’s, Gender, and Sexuality Studies at Penn State University. Her previous books include Liminal Lives and The Graphic Medicine Manifesto. This interview was a collaborative effort among participants in the Vanderbilt graduate seminar, Social Studies of Science & Medicine. For information about using NBN interviews as part of pedagogical practice, please email Laura Stark or see the essay “Can New Media Save the Book?” in Contexts (2015). Learn more about your ad choices. Visit megaphone.fm/adchoices

Susan M. Squier’s book, Epigenetic Landscapes: Drawings as Metaphor (Duke University Press, 2017)  is about development— biological and ecological. It explores how the media (paintings, films, graphics) that experts have created to understand development and to communicate without verbal language has shaped—and continues to affect—the worlds in which we live. Squier’s book takes its title from a set of images from the embryologist C.H. Waddington, all meant to demonstrate his theory of how life developed—as a dynamic process emerging within multiple scales of time and space. The first Epigenetic Landscape was, literally, a landscape painting—thick and confounding—that Waddington commissioned from the artist John Piper. Over the next twenty years, Waddington created two additional images that suggested a less contextual, more individually focused conception of development. In her creative and persuasive book, Susan Squier follows iterations of the Epigenetic Landscape to spotlight moments of contingency in the new field of epigenetics in the 1960s and 1970s, when scientists had opportunities to follow interdisciplinary approaches, to emphasize multiple scales of time and space, and to take seriously process-oriented knowledge that defied orthodoxies of molecular genetics. Squier argues that attending to visual rhetoric of scientific fields, especially development, is an inroad both to understanding the history of those fields, and to imagining possible, more feminist, futures. In doing so, Squier shows that ways of knowing that have been separated as either “art” or “science” interact more often than is appreciated, and those lines of connection serve as important creative resources. Heeding her own call for transdisciplinary approaches, three chapters document how the Epigenetic Landscape has been used not only into embryology but also landscape design and bioArt. Squier is Brill Professor Emeritus of English and Women’s, Gender, and Sexuality Studies at Penn State University. Her previous books include Liminal Lives and The Graphic Medicine Manifesto. This interview was a collaborative effort among participants in the Vanderbilt graduate seminar, Social Studies of Science & Medicine. For information about using NBN interviews as part of pedagogical practice, please email Laura Stark or see the essay “Can New Media Save the Book?” in Contexts (2015). Learn more about your ad choices. Visit megaphone.fm/adchoices

Susan M. Squier’s book, Epigenetic Landscapes: Drawings as Metaphor (Duke University Press, 2017)  is about development— biological and ecological. It explores how the media (paintings, films, graphics) that experts have created to understand development and to communicate without verbal language has shaped—and continues to affect—the worlds in which we live. Squier’s book takes its title from a set of images from the embryologist C.H. Waddington, all meant to demonstrate his theory of how life developed—as a dynamic process emerging within multiple scales of time and space. The first Epigenetic Landscape was, literally, a landscape painting—thick and confounding—that Waddington commissioned from the artist John Piper. Over the next twenty years, Waddington created two additional images that suggested a less contextual, more individually focused conception of development. In her creative and persuasive book, Susan Squier follows iterations of the Epigenetic Landscape to spotlight moments of contingency in the new field of epigenetics in the 1960s and 1970s, when scientists had opportunities to follow interdisciplinary approaches, to emphasize multiple scales of time and space, and to take seriously process-oriented knowledge that defied orthodoxies of molecular genetics. Squier argues that attending to visual rhetoric of scientific fields, especially development, is an inroad both to understanding the history of those fields, and to imagining possible, more feminist, futures. In doing so, Squier shows that ways of knowing that have been separated as either “art” or “science” interact more often than is appreciated, and those lines of connection serve as important creative resources. Heeding her own call for transdisciplinary approaches, three chapters document how the Epigenetic Landscape has been used not only into embryology but also landscape design and bioArt. Squier is Brill Professor Emeritus of English and Women’s, Gender, and Sexuality Studies at Penn State University. Her previous books include Liminal Lives and The Graphic Medicine Manifesto. This interview was a collaborative effort among participants in the Vanderbilt graduate seminar, Social Studies of Science & Medicine. For information about using NBN interviews as part of pedagogical practice, please email Laura Stark or see the essay “Can New Media Save the Book?” in Contexts (2015). Learn more about your ad choices. Visit megaphone.fm/adchoices

Susan M. Squier's book, Epigenetic Landscapes: Drawings as Metaphor (Duke University Press, 2017)  is about development— biological and ecological. It explores how the media (paintings, films, graphics) that experts have created to understand development and to communicate without verbal language has shaped—and continues to affect—the worlds in which we live. Squier's book takes its title from a set of images from the embryologist C.H. Waddington, all meant to demonstrate his theory of how life developed—as a dynamic process emerging within multiple scales of time and space. The first Epigenetic Landscape was, literally, a landscape painting—thick and confounding—that Waddington commissioned from the artist John Piper. Over the next twenty years, Waddington created two additional images that suggested a less contextual, more individually focused conception of development. In her creative and persuasive book, Susan Squier follows iterations of the Epigenetic Landscape to spotlight moments of contingency in the new field of epigenetics in the 1960s and 1970s, when scientists had opportunities to follow interdisciplinary approaches, to emphasize multiple scales of time and space, and to take seriously process-oriented knowledge that defied orthodoxies of molecular genetics. Squier argues that attending to visual rhetoric of scientific fields, especially development, is an inroad both to understanding the history of those fields, and to imagining possible, more feminist, futures. In doing so, Squier shows that ways of knowing that have been separated as either “art” or “science” interact more often than is appreciated, and those lines of connection serve as important creative resources. Heeding her own call for transdisciplinary approaches, three chapters document how the Epigenetic Landscape has been used not only into embryology but also landscape design and bioArt. Squier is Brill Professor Emeritus of English and Women's, Gender, and Sexuality Studies at Penn State University. Her previous books include Liminal Lives and The Graphic Medicine Manifesto. This interview was a collaborative effort among participants in the Vanderbilt graduate seminar, Social Studies of Science & Medicine. For information about using NBN interviews as part of pedagogical practice, please email Laura Stark or see the essay “Can New Media Save the Book?” in Contexts (2015). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

Susan M. Squier’s book, Epigenetic Landscapes: Drawings as Metaphor (Duke University Press, 2017)  is about development— biological and ecological. It explores how the media (paintings, films, graphics) that experts have created to understand development and to communicate without verbal language has shaped—and continues to affect—the worlds in which we live. Squier’s book takes its title from a set of images from the embryologist C.H. Waddington, all meant to demonstrate his theory of how life developed—as a dynamic process emerging within multiple scales of time and space. The first Epigenetic Landscape was, literally, a landscape painting—thick and confounding—that Waddington commissioned from the artist John Piper. Over the next twenty years, Waddington created two additional images that suggested a less contextual, more individually focused conception of development. In her creative and persuasive book, Susan Squier follows iterations of the Epigenetic Landscape to spotlight moments of contingency in the new field of epigenetics in the 1960s and 1970s, when scientists had opportunities to follow interdisciplinary approaches, to emphasize multiple scales of time and space, and to take seriously process-oriented knowledge that defied orthodoxies of molecular genetics. Squier argues that attending to visual rhetoric of scientific fields, especially development, is an inroad both to understanding the history of those fields, and to imagining possible, more feminist, futures. In doing so, Squier shows that ways of knowing that have been separated as either “art” or “science” interact more often than is appreciated, and those lines of connection serve as important creative resources. Heeding her own call for transdisciplinary approaches, three chapters document how the Epigenetic Landscape has been used not only into embryology but also landscape design and bioArt. Squier is Brill Professor Emeritus of English and Women’s, Gender, and Sexuality Studies at Penn State University. Her previous books include Liminal Lives and The Graphic Medicine Manifesto. This interview was a collaborative effort among participants in the Vanderbilt graduate seminar, Social Studies of Science & Medicine. For information about using NBN interviews as part of pedagogical practice, please email Laura Stark or see the essay “Can New Media Save the Book?” in Contexts (2015). Learn more about your ad choices. Visit megaphone.fm/adchoices

Anna Dumitriu talks about her creation with bacteria and contemporary biomedicine and bioresearch, explaining how she combines high end bioresearch with craft techniques in her work. She presents and discusses her approach to art and to art and science collaborations and detail her specific project in relation to the FEAT residency. Recorded by Annick Bureaud on September 9th 2016 in Linz during Ars Electronica, in the framework of the EU H2020 co-funded FEAT / Future Emerging Art and Technology project [http://featart.eu/index.php?id=5]. Jingles and sound design Jean-Yves Leloup, musics Carl Harms, David James Elliott "The Wire", Sergey Lopoukha "Lull" (Universal Production Music Publishing), Stefanski "Last Light Lament" (Atmos Production Music/UNIPPM) and "Nouvelles Machines" by Pete Namlook & Geir Jenssen.  

The curator Jurij Krpan discusses his approach, thinking and activities as Director of the Kapelica Galeriaj with a focus on Špela Petrič's performance Confronting Vegetal Otherness: Skotopoiesis that the artist created in Ljubljana on September 10th-11th 2015 as part of Trust Me, I'm An Artist, an EU funded project that is exploring ethical issues in art that engage with biotechnology and living organisms. This podcast is linked to the one with Špela Petrič discussing the same performance from the point of view of the artist. Enregistré par Annick Bureaud le 12 septembre 2015 à Ljubljana dans le cadre du projet Trust Me, I'm An Artist [http://olats.org/trustme/trustme.php] Jingles et habillage sonore Jean-Yves Leloup, musiques Carl Harms, David James Elliott "The Wire", Sergey Lopoukha "Lull" (Universal Production Music Publishing), Stefanski "Last Light Lament" (Atmos Production Music/UNIPPM). http://olats.org/trustme/trustme.php

The artist Špela Petrič discusses her performance Confronting Vegetal Otherness: Skotopoiesis that she created in Ljubljana on September 10th-11th 2015 as part of Trust Me, I'm An Artist, an EU funded project that is exploring ethical issues in art that engage with biotechnology. This podcast is linked to the one with Jurij Krpan who discusses the same performance from the point of view of the curator. Enregistré par Annick Bureaud le 12 septembre 2015 à Ljubljana dans le cadre du projet Trust Me, I'm An Artist [http://olats.org/trustme/trustme.php] Jingles et habillage sonore Jean-Yves Leloup, musiques Carl Harms, David James Elliott "The Wire", Sergey Lopoukha "Lull" (Universal Production Music Publishing), Stefanski "Last Light Lament" (Atmos Production Music/UNIPPM). http://olats.org/trustme/trustme.php

An open seminar sponsored by the Reproductive Sociology Research Group (ReproSoc). Filmed on 22nd May 2015.

At the intersection of biotechnology and visual arts are bioartists like Kathy High.

Enregistré par Annick Bureaud & Jean-Luc Soret, le 11 septembre 2014 à Paris, jingles et habillage sonore Jean-Yves Leloup, musiques Carl Harms, David James Elliott "The Wire", Sergey Lopoukha "Lull" (Universal Production Music Publishing)

In this section of his interview on "Art-Science : Emergence et ruptures", Roger Malina addresses the topic of bio art and synthetic biology. Enregistré par Annick Bureaud & Jean-Luc Soret, le 11 septembre 2014 à Paris, jingles et habillage sonore Jean-Yves Leloup, musiques Carl Harms, David James Elliott "The Wire", Sergey Lopoukha "Lull" (Universal Production Music Publishing)

Longtemps considéré comme une entité semi-vivante, inerte et active, molécule et organisme à la fois, ou au contraire, rien de tout cela, le virus est aujourd’hui envisagé comme un agent essentiel à l’évolution de la vie chez les êtres vivants. Retour avec Thierry Bardini sur l’actualité de cette figure de l’écologie symbiotique, à l’intersection des mondes numériques et biologiques.

What do you get when you bring biologists, artists, philosophers and filmmakers out into the Canadian Rocky Mountains on a 2 week research-creation summit? Why, Bioartcamp of course! Created by Dr. Jennifer Willet, the accomplished bioartist and director of Incubator Hybrid Laboratory, working at the intersection of art, science, and ecology, Bioartcamp was an adventurous expedition in art making and social research that took place at the Banff Centre in Alberta, as well as in tents, made for bioart, out in the mountain range at Castle Mountain hostel. But first, I realize, you might not know what bioart is. In this episode you’ll start to uncover this discipline, hear from many of the people who attended Bioartcamp, as well as learn about some of the sticky situations within the field regarding its definition, practice, and motives. More on Bioartcamp can be found in this description from its website: “BioARTCAMP is a two-week residency program at The Banff Centre directed by Dr. Jennifer Willet from The University of Windsor, Canada. BioARTCAMP is a hybrid workshop / conference / performance event where 20 national and international artists, scientists, filmmakers, and university students will work for two weeks to build a portable biology laboratory in Banff National Park. BioARTCAMP will serve as a “field research station” housing a functional biological sciences lab and a variety of art/science projects. BioARTCAMP will open its doors to the general public for a one day “art/science fair” with food, music, and activities for all ages. BioARTCAMP will conclude at The Banff Centre with a two-day conference. BioARTCAMP is designed to emphasize ecological metaphors for describing biotechnology in public discourse, and to complicate the ‘Great Divide’ between lab and field based research methodologies in the hard sciences. BioARTCAMP will deploy humour and DIY techniques for reimagining biotechnology against the backdrop of the Canadian Rocky Mountains and motifs of back country exploration, mountain ecologies, and the wild west. BioARTCAMP serves the demystification and democratization of biotechnology – within the context of larger ecological considerations with full attention to health and Safety considerations and respect for the delicate ecology of Banff National Park.”