Podcast appearances and mentions of heather dewey hagborg

We're working on an upcoming episode about the science-inspired art that you're making! If you want to share paintings, songs, pottery, poetry, or anything else, we'd love to hear about it. Write to us or send us a voice memo at universe@sciencefriday.com to tell us about what you made and why, and we might reach out to you. Thanks!Today, we're going to take a field trip to a couple science-inspired museum exhibits that host D. Peterschmidt checked out last fall. The first is artist Heather Dewey Hagborg's Hybrid: An Interspecies Opera, where she interviewed scientists and archaeologists and even filmed in a lab that's experimenting with genetically modifying pigs to create more human-compatible organs. In the resulting documentary, which plays in the exhibit, the words from the scientists she interviewed are transposed into an opera composed by musician Bethany Barrett. Visitors can also find 3D-printed clay pig statues and a timeline of how humans have transformed pigs over ten millennia, thanks to selective breeding.Then, we'll head over to Climate Futurism, an exhibit curated by marine biologist Dr. Ayana Elizabeth Johnson, who thinks a lot about the possible futures of our climate. Not just one ideal climate future, but a range of futures that could be better if we make some changes. And one of the exhibit's central questions it asks the viewer is, what if we get it right? D. spoke to Dr. Johnson and one of the three featured artists, Erica Deeman, about food justice, reconnecting with nature, and why the exhibit is called Climate Futurism.Universe of Art is hosted and produced by D. Peterschmidt, who also wrote the music. Our show art was illustrated by Abelle Hayford. Support for Science Friday's science and arts coverage comes from the Alfred P. Sloan Foundation. Do you have science-inspired art you'd like to share with us for a future episode? Send us an email or a voice memo to universe@sciencefriday.com.

Transdisciplinary artist and biohacker Heather Dewey-Hagborg shares her latest work on future pigs and hybrids.Keep up with Heather Dewey-HagborgWebsite | InstagramAbout Heather Dewey-HagborgDr. Heather Dewey-Hagborg is a New York-based artist and biohacker who is interested in art as research and technological critique. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (hair, cigarette butts, chewed up gum) collected in public places.Heather has shown work internationally at events and venues including the World Economic Forum, the Daejeon Biennale, the Guangzhou Triennial, and the Shenzhen Urbanism and Architecture Biennale, Transmediale, the Walker Center for Contemporary Art, the Philadelphia Museum of Art, and PS1 MoMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, SFMoMA, among others, and has been widely discussed in the media, from the New York Times and the BBC to Art Forum and Wired.Heather has a PhD in Electronic Arts from Rensselaer Polytechnic Institute. She is an Artist-in-Residence at the Exploratorium, and is an affiliate of Data & Society. She is a founding board member of Digital DNA, a European Research Council funded project investigating the changing relationships between digital technologies, DNA and evidence.

Anna Ridler, Raphael Brunk, Philipp Goldbach, Ralf Brueck, Heather Dewey-Hagborg. Andy Scholz rekapituliert die Hauptausstellung vom INTERNATIONALEN FESTIVAL FOTOGRAFISCHER BILDER mit der darktaxa-project-Gruppe, die er gemeinsam mit Michael Reisch kuratiert hat, und die am 23. November 2023 eröffnet wurde. Andy Scholz präsentiert die einzelnen künstlerischen Positionen, die noch bis zum 4. Februar 2024 in der Städtischen Galerie im Leeren Beutel zu sehen sind. https://festival-fotografischer-bilder.de/festival-2023/hauptausstellung-2023/rundgang-2023/ http://www.darktaxa-project.net/projects/ - - Episoden-Cover-Gestaltung: Andy Scholz Episoden-Cover-Foto: © Björn Siebert, Detailansicht »Lossless Compression« von Philip Goldbach In unseren Newsletter eintragen und regelmäßig gut informiert sein über das INTERNATIONALE FESTIVAL FOTOGRAFISCHER BILDER, den »Deutschen Fotobuchpreis« und den Podcast Fotografien Neu Denken. https://festival-fotografischer-bilder.de/newsletter/ Idee, Produktion, Redaktion, Moderation, Schnitt, Ton, Musik: Andy Scholz Der Podcast ist eine Produktion von STUDIO ANDY SCHOLZ 2020-2023. Andy Scholz wurde 1971 in Varel am Jadebusen geboren. Er studierte Philosophie und Medienwissenschaften in Düsseldorf, Kunst und Design an der HBK Braunschweig und Fotografie/Fototheorie in Essen an der Folkwang Universität der Künste. Seit 2005 ist er freier Künstler, Autor sowie künstlerischer Leiter und Kurator vom INTERNATIONALEN FESTIVAL FOTOGRAFISCHER BILDER, das er gemeinsam mit Martin Rosner 2016 in Regensburg gründete. Seit 2012 unterrichtete er an verschiedenen Instituten, u.a. Universität Regensburg, Fachhochschule Würzburg, North Dakota State University in Fargo (USA), Philipps-Universität Marburg, Ruhr Universität Bochum, seit 2022 auch an der Pädagogischen Hochschule Ludwigsburg. Im ersten Lockdown, im Juni 2020, begann er mit dem Podcast. Er lebt und arbeitet in Essen. http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ https://festival-fotografischer-bilder.de/ https://www.instagram.com/festivalfotografischerbilder/ Https://deutscherfotobuchpreis.de/ http://andyscholz.com/ https://www.instagram.com/scholzandy/

Heather Dewey-Hargborg, American artist and bio-hacker most knowned for the project Stranger Visions. Ana Brígida for The New York Times Dr. Heather Dewey-Hagborg is a transdisciplinary artist and educator who is interested in art as research and critical practice. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (such as hair, cigarette butts, or chewed up gum) collected in public places. Heather has shown work internationally at events and venues including the World Economic Forum, the Daejeon Biennale, and the Shenzhen Urbanism and Architecture Biennale, the Van Abbemuseum, Transmediale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, the Wellcome Collection, and the New York Historical Society, among others, and has been widely discussed in the media, from the New York Times and the BBC to Art Forum and Wired. Heather has a PhD in Electronic Arts from Rensselaer Polytechnic Institute. She is a visiting assistant professor of Interactive Media at NYU Abu Dhabi, an artist fellow at AI Now, an Artist-in-Residence at the Exploratorium, and is an affiliate of Data & Society. Hybrid (Trailer) from Heather Dewey-Hagborg on Vimeo. Installation view, Heather Dewey-Hagborg, Hybrid: an Interspecies Opera. Courtesy of the artist and Fridman Gallery. Still from Heather Dewey-Hagborg, Hybrid: an Interspecies Opera. Courtesy of the artist and Fridman Gallery.

Marco Mancuso"Chimera"Il corpo espanso per una nuova ecosofia dell'arteMimesis Edizioniwww.mimesisedizioni.itChimera. Il Corpo Espanso per una nuova ecosofia dell'arte individua un punto di incontro tra arte e design, tecnologia e scienza nell'indagine sul corpo umano in dialogo con il contesto che lo circonda. La sua unicità, quella di evidenziare e mettere a sistema caratteristiche comuni e vicinanze nelle opere e nelle pratiche di artisti e designer che pongono il rapporto tra noi e l'ambiente al centro della loro poetica. Il confronto con creativi e progettisti come Heather Dewey-Hagborg, Marco Donnarumma, Sputniko!, Margherita Pevere, Neil Harbisson e Anouk Wipprecht, consente infatti di individuare le caratteristiche di quello che viene qui definito Corpo Espanso: una chimera che abbatte i binarismi material-semiotici e consente di modellare nuovi rapporti entangled tra entità umane e non-umane. Riprendendo alcune importanti ricerche ed esperienze del Novecento e ponendole in dialogo con gli sviluppi più recenti nei campi delle neuroscienze, delle biotecnologie, della prostetica e del bodyhacking, Marco Mancuso – critico e studioso, una delle voci più autorevoli del panorama nazionale e internazionale - tramite un'inedita e radicale messa a sistema delle principali correnti del pensiero postumano, suggerisce un'alternativa agli immaginari transumani, le distopie antropocentriche e le derive ipermediali dei nostri corpi aprendo, in modo originale e coraggioso, a nuove dimensioni relazionali fluide, queer, non-gerarchiche ed egualitarie dell'essere umano su questo pianeta.Marco Mancuso è critico e curatore di arte contemporanea, nel rapporto con tecnologia e scienza e nel dialogo con gli ambiti del design, dell'architettura e del suono. Professore presso il Politecnico delle Arti di Bergamo, docente presso l'Università di Bologna e lectuter per il Node Center for Curatorial Studies di Berlino, è dottore di ricerca in Culture Digitali presso l'Università Iuav di Venezia. Si interessa a come il discorso interdisciplinare osserva le diverse modalità con cui la tecnoscienza influenza la società e il rapporto tra essere umano e ambiente, studiando parallelamente l'evoluzione delle dinamiche progettuali, produttive e di mercato della media art e dell'arte digitale. Fondatore e direttore del progetto Digicult, i suoi saggi e interviste sono apparsi sul portale e in numerose riviste, libri e cataloghi. Ha curato mostre ed eventi a livello nazionale e internazionale, partecipa a conferenze, tavole rotonde ed è stato partner di festival, media lab e istituzioni tra cui transmediale, Impakt, V2, Baltan Labs, Goethe Institut, Sonar+D, Sonic Acts, Elektra, STRP, Todaysart, Subtle Technologies. È partner del programma EMAP/EMARE, è tra i fondatori del centro studi SSH! - Sound Studies Hub dello Iuav di Venezia e ha pubblicato i libri "Arte, Tecnologia e Scienza" (2018) e “Intervista con la New Media Art" (2020) per Mimesis Edizioni.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Mentally Gone Ep. 37 - SATANIC BRAZIL | HUMAN TRAFFICKING | CONSPIRACIES #satanic #conspiracy #brasil On this episode we talk about the many occult symbolism presented to the masses on the Brazilian national and traditional "holiday" CARNAVAL, with a heavy tribute and worship to Satan/the devil that ultimately led to the devastating floods and the lightning hitting Christ the Redeemer. We expose Vogue, the Ukraine and why exactly the United States has a vested interest in donating money to the Ukraine and "helping it rebuild". We discuss an obscure "creative group" GORSAD KYIV from the Ukraine who may or may not be involved in Human Trafficking with possible direct ties to Jeffrey Epstein. We talked about a real life zombie incident called "Zombie Ant Fungus", very similar to the hit video game and HBO show "The Last of Us". We talk about HEATHER DEWEY-HAGBORG and her 3d DNA art. We discussed Gisele Bündchen Satanic Italian Vogue cover. That and much much more! For the Video version: https://www.youtube.com/watch?v=ddVf3a4D_dU&t=434s Join the Mentally Gone Discord community: https://discord.gg/gV5Am8Q4fe Call us to be featured on a future episode! Share your own crazy stories, thoughts and opinions by leaving a voicemail at: (201) 890-2907 --- Support this podcast: https://podcasters.spotify.com/pod/show/mentallygonestudios/support

Mentally Gone Ep. 37 - SATANIC BRAZIL | HUMAN TRAFFICKING | CONSPIRACIES #satanic #conspiracy #brasil On this episode we talk about the many occult symbolism presented to the masses on the Brazilian national and traditional "holiday" CARNAVAL, with a heavy tribute and worship to Satan/the devil that ultimately led to the devastating floods and the lightning hitting Christ the Redeemer. We expose Vogue, the Ukraine and why exactly the United States has a vested interest in donating money to the Ukraine and "helping it rebuild". We discuss an obscure "creative group" GORSAD KYIV from the Ukraine who may or may not be involved in Human Trafficking with possible direct ties to Jeffrey Epstein. We talked about a real life zombie incident called "Zombie Ant Fungus", very similar to the hit video game and HBO show "The Last of Us". We talk about HEATHER DEWEY-HAGBORG and her 3d DNA art. We discussed Gisele Bündchen Satanic Italian Vogue cover. That and much much more! For the Video version: https://www.youtube.com/watch?v=ddVf3a4D_dU&t=434s Join the Mentally Gone Discord community: https://discord.gg/gV5Am8Q4fe Call us to be featured on a future episode! Share your own crazy stories, thoughts and opinions by leaving a voicemail at: (201) 890-2907 --- Support this podcast: https://anchor.fm/mentallygonestudios/support

Dr. Barbara J. Scheuermann (Leiterin der Sammlungen Grafik und Medienkunst und Ausstellungskuratorin am Kunstmuseum Bonn) und Prof. Michael Reisch (Kurator und beteiligter Künstler). Mit Dr. Barbara J. Scheuermann vom Kunstmuseum Bonn sowie mit dem Künstler und Professor Michael Reisch spricht Andy Scholz über die Ausstellung »EXPECT THE UNEXPECTED - Aktuelle Konzepte für Fotografie«, die am 15. Februar 2023 im Bonner Kunstmuseum eröffnet wird – und über fotografiebasierte digitale Kunst. Zitate aus dem Podcast: »Das Unerwartete ist, dass viel auf den ersten oder auch zweiten und dritten Blick für viele unserer Besucher*innen gar nicht Fotografie ist .« Dr. Barbara J. Scheuermann »Unser Publikum kommt in der Ausstellung wahrscheinlich mit den üblichen Erwartungen nicht weiter.« Dr. Barbara J. Scheuermann »Unsere Ausstellung ist eine Riesen-Herausforderung weil die Technik fast immer auch Thema ist.« Dr. Barbara J. Scheuermann »Mich interessiert als Kuratorin immer die zeitgenössische Kunst als Reflexion auf gesellschaftliche Entwicklungen.« Dr. Barbara J. Scheuermann - - - »Frei nach einem Zitat von Prof. Dr. Bernhard Dotzler im Podcast 008, was für mich gut passt: Es geht um fotogenetisch erzeugte Bildobjekte und Bildwelten.« Prof. Michael Reisch »Digitalität wird in der Ausstellung nicht nur thematisiert, sondern auch sichtbar gemacht – und reflektiert sich gleichzeitig selbst.« Prof. Michael Reisch »In der Ausstellung versuchen wir den Begriff Fotografie so weit es geht zu dehnen, auszureizen und dadurch Fragen an das zu stellen, was wir für Fotografie halten oder was Fotografie sein könnte.« Prof. Michael Reisch »Die Parallele vom digitalen Alltag in die Ausstellung ist mir wichtig.« Prof. Michael Reisch »Interessant ist, dass viele der aktuellen Fragen, z.B. in Bezug auf KI, ähnlich schon im 19. Jahrhundert diskutiert wurden. Wer hat denn das Bild gemacht? Die Kamera, die Ingenieurin oder die oder der hinter der Kamera?« Prof. Michael Reisch »Es werden in der Ausstellung Arbeiten zu sehen sein, die mit neuen bildgebenden Verfahren erstellt sind, wie: Photogrammetrie, 3D-Scanning, 3D-Druck, Augmented Reality, CGI, Künstliche Intelligenz, Machine Learning, Text-To-Image-Generatoren.« Prof. Michael Reisch »Wenn man Bilder über Digitalität machen möchte, hat man es mit Sachen zu tun, die man nicht sehen kann. Binärcodes, Tracking Algorithmen, KI bei der Arbeit, usw. sind unsichtbar.« Prof. Michael Reisch »Wenn wir als Künstler*innen auf den gesellschaftspolitischen Wandel und den Wandel unserer Lebensumstände Bezug nehmen, geschieht das mit den Tools, die diesen Wandel mit verursacht haben.« Prof. Michael Reisch - - - Barbara J. Scheuermann https://www.kunstmuseum-bonn.de/de/museum/team-kontakt/ https://de.wikipedia.org/wiki/Barbara_Josepha_Scheuermann - - - Prof. Michael Reisch wurde https://michaelreisch.com/ https://www.alanus.edu/de/hochschule/menschen/detail/michael-reisch http://darktaxa-project.net/about/ - - - EXPECT THE UNEXPECTED 16.02.2023 – 30.04.2023 Eröffnung: Mittwoch, 15.02.2023, 19 Uhr Mit Werken von Banz & Bowinkel, Tim Berresheim, darktaxa-project, Heather Dewey-Hagborg, Philipp Goldbach, Beate Gütschow, Spiros Hadjidjanos, Fabian Hesse & Mitra Wakil, Baron Lanteigne, Oliver Laric, Simon Lehner, Achim Mohné, Susan Morris, Viktoria Pidust, Johannes Post, Jon Rafman, Michael Reisch, Anna Ridler, Adrian Sauer, Tamas Waliczky + Students` Reels https://www.kunstmuseum-bonn.de/de/ausstellungen/expect-the-unexpected/ - - - Episoden-Cover-Gestaltung: Andy Scholz Episoden-Cover-Foto: (Ausstellung) Baron Lanteigne, (Michael Reisch) privat, (B. J. Scheuermann) Nadine Preiss In unseren Newsletter eintragen und regelmäßig gut informiert sein über das Festival, den deutschen Fotobuchpreis und den Podcast Fotografien Neu Denken. https://festival-fotografischer-bilder.de/newsletter/

Here's a sneak preview of this week's Team Human Patreon-exclusive bonus content: Rushkoff, information artist and bio-hacker Heather Dewey-Hagborg, and visiting Assistant Professor of Practice of Interactive Media Joerg Blumtritt participate in ‘An Oral History of the Internet'. Rushkoff shares his early experience of the internet how the internet has changed over time. This project was sponsored by the NYUAD Art Gallery and the NYUAD Institute. Originally recorded June 9, 2021.

The art exhibition is called not in, of, along or relating to a line. Its name suggests the beginning of something vast, beyond the linear and potentially multidimensional. Or maybe the opposite, something lacking a physical dimension altogether. Maya Allison, executive director of NYUAD Art Gallery, and curator and artist Heather Dewey-Hagborg, began the task of collating the virtual exhibition. As parts of the world went into lockdown, so did NYUAD Art Gallery. There was no longer a physical space in which to interact with the work.  While the world's biggest museums and galleries began offering online tours and walkthroughs, NYUAD Art Gallery took a different approach. Its exhibition would not be one in which people could enter the gallery space virtually and tour it in 3D. Instead, it would show works that are “born digital”, made specifically for the online world and tailored for the smartphone screen. Host Alexandra Chavez looks at the ideas culminating in this exhibition. We hear from curator Heather Dewey-Hagborg and artists Maryam Al Hamra and Lee Blalock.

25 Visions for the Future of Our Species We now have the tools to transform ourselves and our species. Greater health and longevity, enhanced brains, and engineered fertility are in the works. What’s just over the horizon is even more astonishing. We call this the neobiological frontier. The book is a collection of 25 essays, interviews, and works of fiction and art offering a big-picture perspective on the profound changes made possible by the merging of biology and technology. The book brings together today's smartest and most creative inventors, thinkers, and scientists to tell us their vision of the future. This book is a 2020 time capsule for future humans. Neo.Life: 25 Visions for the Future of Our Species covers these powerful new biotechnologies and ideas in non-technical language, with beautiful full-color images and a fresh design by National Design Award winner Jennifer Morla. This book makes a compelling foundation for the discussions we’ll be having about these technologies for years to come, and as one observer said, it is definitely coffee table worthy, no matter which planet that table is on. Meet George Church, one of the most prodigious bioengineers of our time, in conversation with Ramez Naam, a computer scientist, clean tech investor, and science fiction author. George maintains a list of genes that could be edited to make humans healthier or more suited to future environmental conditions, including life off-planet. He’s also got an idea to send a single-cell biological probe to faraway worlds that could be programmed to beam information back to Earth. Consider neuroscientist David Eagleman’s ideas about how embryo selection could change the way we parent our children. Dive into an imagined future with inventor Danny Hillis as he guides you through the possibilities and pitfalls of designing your child from scratch using gene editing technology. Will you “supersize” them, or give them an extra appendage? If you bestow a color or pattern, keep in mind that it might be trendy today but look dated 10 years from now. Discover filmmaker and artist Lynn Hershman Leeson’s ideas about identity in her antibody-as-art project that will change how you think about life-science technologies. Hear from Osh Agabi, the Swiss-Nigerian roboticist-neuroscientist who’s built a brain on a chip, literally blending silicon and neurons. He envisions using his technology to allow us to connect our consciousnesses together in a sort of giant empathy web. Read Juan Enriquez, who has been thinking and writing about self-directed evolution for a long time. In his creative brief, he imagines a future with a far greater diversity of human species, and considers the implications. Ponder the risks and ethical implications of this new frontier with CRISPR scientist and film producer Samira Kiani, who outlines the safety checks she’s developing to control gene edits. And hear from biosecurity policy expert Megan Palmer, who shares how her experiences led to social responsibility programs for synthetic biologists. BOOK DETAILS Designed by Jennifer Morla Hardcover, 7 3/4 x 9 3/4 inches 160 pages, 25 color illustrations Smyth sewn, with silver Litho foil-stamped cover Contributors: Oshiorenoya Agabi, Christina Agapakis, Siranush Babakhanova, Seth Bannon, George Church, Emma Conley, Zoe Cormier, Zack Denfeld, Heather Dewey-Hagborg, David Eagleman, Juan Enriquez, Kristen Fortney, Joel Garreau, Daisy Ginsberg, Danny Hillis, Samira Kiani, Cathrine Kramer, Becky Lyon, Hannu Rajaniemi, Lux Alptraum, Lynn Hershman Leeson, Ramez Naam, Megan Palmer, Nicola Patron, Robert Plomin, Steve Ramirez, Sissel Tolaas, Bowen Zhao, Changle Zhou.

Steven L. Bridges, photo by Eat Pomegranate Photography Steven L. Bridges is a curator, art historian, and writer based in Lansing, Michigan. Currently he holds the position of Associate Curator at the Eli and Edythe Broad Art Museum at Michigan State University (MSU Broad). His present research and curatorial interests focus on the intersection of social, racial, and environmental justice, as well as the relationship between art, geopolitics, and scientific inquiry. Most recently at the MSU Broad, Bridges curated the major exhibitions Katrín Sigurðardóttir (2019–20) and Oscar Tuazon: Water School (2019), and co-curated the first two-person exhibition of the work of Mike Kelley and Jim Shaw, titled Michigan Stories (2017–18). Other notable projects include Spirit Molecule (2019), a highly experimental project initiated by artists Heather Dewey-Hagborg and Phillip Andrew Lewis to develop a moss garden of genetic memorials; and Beyond Streaming: A Sound Mural for Flint, a residency project for which artist Jan Tichy worked with Lansing and Flint-area community members in response to the Flint water crisis. His essays and articles have been published in numerous journals and magazines, including Seismopolite, Art & the Public Sphere, Dispatch, Live Arts Almanac, and Art & Education Papers, as well as exhibition catalogues and other online and print media. In 2017 he was named a curatorial fellow at the FACE Foundation. Eli and Edythe Broad Art Museum at Michigan State University, photo Courtesy MSU Broad Katrín Sigurðardóttir installation view at the Eli and Edythe Broad Art Museum at Michigan State University, 2019. Photo: Eat Pomegranate Photography.

In conversation with Heather Dewey-Hagborg Heather Dewey-Hagborg is an information artist and bio-hacker, whose new artwork How Do You See Me? is currently showing at the Photographer's Gallery. Here, she talks about epigenetics, machine learning and creating portraits of people she has never met by sequencing their DNA.

In conversation with Heather Dewey-Hagborg Heather Dewey-Hagborg is an information artist and bio-hacker, whose new artwork How Do You See Me? is currently showing at the Photographer's Gallery. Here, she talks about epigenetics, machine learning and creating portraits of people she has never met by sequencing their DNA.

This week bad at sports presents a panel on making and being presented at Hauser and Wirth by our partners BFAMFAPhD. Event 2: Artist-Run Spaces How do artists create contexts for encounters with their projects that are aligned with their goals? Friday 2/1 from 6-8pm Linda Goode-Bryant, Heather Dewey-Hagborg, and Salome Asega Linda Goode-Bryant is the Founder and President of Active Citizen Project and Project EATS. She developed Active Citizen Project while filming the 2004 Presidential Elections and developed Project EATS during the 2008 Global Food Crisis. She is also the Founder and Director of Just Above Midtown, Inc. (JAM), a New York City non-profit artists space. Linda believes art is as organic as food and life, that it is a conversation anyone can enter. She has a Masters of Business Administration from Columbia University and a Bachelor of Arts Degree in painting from Spelman College and is the recipient of a Guggenheim Fellowship and a Peabody Award.   Heather Dewey-Hagborg is a transdisciplinary artist who is interested in art as research and critical practice. Heather has shown work internationally at events and venues including the World Economic Forum, the Shenzhen Urbanism and Architecture Biennale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, and the New York Historical Society, and has been widely discussed in the media, from the New York Times to Art Forum. Heather is also a co-founder of REFRESH, an inclusive and politically engaged collaborative platform at the intersection of Art, Science, and Technology.   Salome Asega is an artist and researcher based in New York. She is the Technology Fellow in the Ford Foundation's Creativity and Free Expression program area, and a director of POWRPLNT, a digital art collaboratory in Bushwick. Salome has participated in residencies and fellowships with Eyebeam, New Museum, The Laundromat Project, and Recess Art. She has exhibited and given presentations at the 11th Shanghai Biennale, Performa, EYEO, and the Brooklyn Museum. Salome received her MFA from Parsons at The New School in Design and Technology where she also teaches.   Upcoming Event: Building Cooperatives What if the organization of labor was integral to your project? Friday 2/22 from 6-8pm Members of Meerkat Filmmakers Collective and Friends of Light RSVP https://www.eventbrite.com/e/making-and-being-building-cooperatives-tickets-54313881281?aff=ebdssbdestsearch   BFAMFAPhD Making and Being is a multi-platform pedagogical project that offers practices of contemplation, collaboration, and circulation in the visual arts. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi. Bio BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States. The work of the collective is to bring people together to analyze and reimagine relationships of power in the arts. BFAMFAPhD received critical acclaim for Artists Report Back (2014), which was presented as the 50th anniversary keynote at the National Endowment for the Arts and was exhibited at the Brooklyn Museum, the Museum of Art and Design, Gallery 400 in Chicago, Cornell University, and the Cleveland Institute of Art. Their work has been reviewed in The Atlantic, the New York Times, the Washington Post, the New Yorker, Andrew Sullivan’s The Dish, WNYC, and Hyperallergic, and they have been supported by residencies and fellowships at the Queens Museum, Triangle Arts Association, NEWINC and PROJECT THIRD at Pratt Institute. BFAMFAPhD members Susan Jahoda and Caroline Woolard are now working on Making and Being, a multi-platform pedagogical project which offers practices of collaboration, contemplation, and social-ecological analysis for visual artists.

This week batted sports presents a panel on making and being presented at Hauser and Wirth by our partners BFAMFAPhD. Step 1: Modes of Critique What modes of critique might foster racial equity in studio art classes at the college level? Friday 1/18 from 6-8pm Billie Lee and Anthony Romero of the Retooling Critique Working Group Respondent: Eloise Sherrid, filmmaker, The Room of Silence Modes of Critique   What modes of critique might foster racial equity in studio art classes at the college level?   Friday 1/18 from 6-8pm Billie Lee and Anthony Romero of the Retooling Critique Working Group Respondent: Eloise Sherrid, filmmaker, The Room of Silence   Billie Lee is an artist, educator, and writer working at the intersection of art, pedagogy, and social change. She holds a BFA from the Rhode Island School of Design, an MFA from Yale University, and is a doctoral candidate at the University of Hawai‘i at Mānoa in American Studies. She has held positions at the Queens Museum, the Yale University Art Gallery, Doris Duke Foundation for Islamic Art, University of New Haven, University of Hawai‘i at Mānoa, and is currently an Assistant Professor of Art History at Hartford Art School.   Anthony Romero is an artist, writer, and organizer committed to documenting and supporting artists and communities of color. Recent projects include the book-length essay The Social Practice That Is Race, written with Dan S. Wang and published by Wooden Leg Press, Buenos Dias, Chicago!, a multi-year performance project commissioned by the Museum of Contemporary Art Chicago and produced in collaboration with Mexico City based performance collective, Teatro Linea de Sombra. He is a co-founder of the Latinx Artists Retreat and is currently a Professor of the Practice at The School of the Museum of Fine Arts at Tufts University.   Judith Leemann is an artist, educator, and writer whose practice focuses on translating operations through and across distinct arenas of practice. A long-standing collaboration with the Boston-based Design Studio for Social Intervention grounds much of this thinking. Leemann is Associate Professor of Fine Arts 3D/Fibers at the Massachusetts College of Art and Design and holds an M.F.A. in Fiber and Material Studies from the School of the Art Institute of Chicago. Her writings have been included in the anthologies Beyond Critique (Bloomsbury, 2017), Collaboration Through Craft (Bloomsbury, 2013), and The Object of Labor: Art, Cloth, and Cultural Production (School of the Art Institute of Chicago and MIT Press 2007). Her current pedagogical research is anchored by the Retooling Critique working group she first convened in 2017 to take up the question of studio critique’s relation to educational equity.   The Retooling Critique Working Group is organized by Judith Leemann and was initially funded by a Massachusetts College of Art and Design President's Curriculum Development Grant.   Eloise Sherrid is a filmmaker and multimedia artist based in NYC. Her short viral documentary, "The Room of Silence," (2016) commissioned by Black Artists and Designers (BAAD), a student community and safe space for marginalized students and their allies at Rhode Island School of Design, exposed racial inequity in the critique practices institutions for arts education, and has screened as a discussion tool at universities around the world.   Step 2:  Artist-Run Spaces How do artists create contexts for encounters with their projects that are aligned with their goals? Friday 2/1 from 6-8pm Linda Goode-Bryant, Heather Dewey-Hagborg, and Salome Asega   Upcoming Event: Building Cooperatives What if the organization of labor was integral to your project? Friday 2/22 from 6-8pm Members of Meerkat Filmmakers Collective and Friends of Light RSVP https://www.eventbrite.com/e/making-and-being-building-cooperatives-tickets-54313881281?aff=ebdssbdestsearch   http://bfamfaphd.com/ Making and Being is a multi-platform pedagogical project that offers practices of contemplation, collaboration, and circulation in the visual arts. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi. Bio BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States. The work of the collective is to bring people together to analyze and reimagine relationships of power in the arts. BFAMFAPhD received critical acclaim for Artists Report Back (2014), which was presented as the 50th anniversary keynote at the National Endowment for the Arts and was exhibited at the Brooklyn Museum, the Museum of Art and Design, Gallery 400 in Chicago, Cornell University, and the Cleveland Institute of Art. Their work has been reviewed in The Atlantic, the New York Times, the Washington Post, the New Yorker, Andrew Sullivan’s The Dish, WNYC, and Hyperallergic, and they have been supported by residencies and fellowships at the Queens Museum, Triangle Arts Association, NEWINC and PROJECT THIRD at Pratt Institute. BFAMFAPhD members Susan Jahoda and Caroline Woolard are now working on Making and Being, a multi-platform pedagogical project which offers practices of collaboration, contemplation, and social-ecological analysis for visual artists.

Duncan catches up with two of the members of BFAMFAPhD for a chat about the upcoming event series, which for those of you in NYC starts friday with MAKING & BEING.   Conversations about Art & Pedagogy co-presented by BFAMFAPhD & Pioneer Works, hosted by Hauser & Wirth, with media partners Bad at Sports and Eyebeam.   image credit... BFAMFAPhD, Making and Being Card Game, print version, 2016-2018, photograph by Emilio Martinez Poppe. Full details below... ____________________________   Hauser & Wirth   BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States.   Pioneer Works is a cultural center dedicated to experimentation, education, and production across disciplines.   Contemporary art talk without the ego, Bad at Sports is the Midwest's largest independent contemporary art podcast and blog. Eyebeam is a platform for artists to engage society’s relationship with technology.   Access info:   The event is free and open to the public. RSVP is required through www.hauserwirth.com/events.   The entrance to Hauser & Wirth Publishers Bookshop is at the ground floor and accessible by wheelchair. The bathroom is all-gender. This event is low light, meaning there is ample lighting but fluorescent overhead lighting is not in use. A variety of seating options are available including: folding plastic chairs and wooden chairs, some with cushions.   This event begins at 6 PM and ends at 8 PM but attendees are welcome to come late, leave early, and intermittently come and go as they please. Water, tea, coffee, beer and wine will be available for purchase. The event will be audio recorded. We ask that if you do have questions or comments after the event for the presenters that you speak into the microphone. If you are unable to attend, audio recordings of the events will be posted on Bad at Sports Podcast after the event.   Parking in the vicinity is free after 6 PM. The closest MTA subway station is 23rd and 8th Ave off the C and E. This station is not wheelchair accessible. The closest wheelchair accessible stations are 1/2/3/A/C/E 34th Street-Penn Station and the 14 St A/C/E station with an elevator at northwest corner of 14th Street and Eighth Avenue. ____________________________ "While knowledge and skills are necessary, they are insufficient for skillful practice and for transformation of the self that is integral to achieving such practice.” - Gloria Dall’Alba BFAMFAPhD presents a series of conversations that ask: What ways of making and being do we want to experience in art classes? The series places artists and educators in intimate conversation about forms of critique, cooperatives, artist-run spaces, healing, and the death of projects. If art making is a lifelong practice of seeking knowledge and producing art in relationship to that knowledge, why wouldn’t students learn to identify and intervene in the systems that they see around them? Why wouldn't we teach students about the political economies of art education and art circulation? Why wouldn’t we invite students to actively fight for the (art) infrastructure they want, and to see it implemented?   The series will culminate in the launch of Making and Being, a multi-platform pedagogical project that offers practices of collaboration, contemplation, and social-ecological analysis for visual artists. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi.   ____________________________   SCHEDULE ____________________________ Modes of Critique   What modes of critique might foster racial equity in studio art classes at the college level?   Friday 1/18 from 6-8pm Billie Lee and Anthony Romero of the Retooling Critique Working Group Respondent: Eloise Sherrid, filmmaker, The Room of Silence   Billie Lee is an artist, educator, and writer working at the intersection of art, pedagogy, and social change. She holds a BFA from the Rhode Island School of Design, an MFA from Yale University, and is a doctoral candidate at the University of Hawai‘i at Mānoa in American Studies. She has held positions at the Queens Museum, the Yale University Art Gallery, Doris Duke Foundation for Islamic Art, University of New Haven, University of Hawai‘i at Mānoa, and is currently an Assistant Professor of Art History at Hartford Art School.   Anthony Romero is an artist, writer, and organizer committed to documenting and supporting artists and communities of color. Recent projects include the book-length essay The Social Practice That Is Race, written with Dan S. Wang and published by Wooden Leg Press, Buenos Dias, Chicago!, a multi-year performance project commissioned by the Museum of Contemporary Art Chicago and produced in collaboration with Mexico City based performance collective, Teatro Linea de Sombra. He is a co-founder of the Latinx Artists Retreat and is currently a Professor of the Practice at The School of the Museum of Fine Arts at Tufts University.   Judith Leemann is an artist, educator, and writer whose practice focuses on translating operations through and across distinct arenas of practice. A long-standing collaboration with the Boston-based Design Studio for Social Intervention grounds much of this thinking. Leemann is Associate Professor of Fine Arts 3D/Fibers at the Massachusetts College of Art and Design and holds an M.F.A. in Fiber and Material Studies from the School of the Art Institute of Chicago. Her writings have been included in the anthologies Beyond Critique (Bloomsbury, 2017), Collaboration Through Craft (Bloomsbury, 2013), and The Object of Labor: Art, Cloth, and Cultural Production (School of the Art Institute of Chicago and MIT Press 2007). Her current pedagogical research is anchored by the Retooling Critique working group she first convened in 2017 to take up the question of studio critique’s relation to educational equity.   The Retooling Critique Working Group is organized by Judith Leemann and was initially funded by a Massachusetts College of Art and Design President's Curriculum Development Grant.   Eloise Sherrid is a filmmaker and multimedia artist based in NYC. Her short viral documentary, "The Room of Silence," (2016) commissioned by Black Artists and Designers (BAAD), a student community and safe space for marginalized students and their allies at Rhode Island School of Design, exposed racial inequity in the critique practices institutions for arts education, and has screened as a discussion tool at universities around the world.   __________________________   Artist-Run Spaces   How do artists create contexts for encounters with their projects that are aligned with their goals?   Friday 2/1 from 6-8pm Linda Goode-Bryant, Heather Dewey-Hagborg, and Salome Asega   Linda Goode-Bryant is the Founder and President of Active Citizen Project and Project EATS. She developed Active Citizen Project while filming the 2004 Presidential Elections and developed Project EATS during the 2008 Global Food Crisis. She is also the Founder and Director of Just Above Midtown, Inc. (JAM), a New York City non-profit artists space. Linda believes art is as organic as food and life, that it is a conversation anyone can enter. She has a Masters of Business Administration from Columbia University and a Bachelor of Arts Degree in painting from Spelman College and is the recipient of a Guggenheim Fellowship and a Peabody Award.   Heather Dewey-Hagborg is a transdisciplinary artist who is interested in art as research and critical practice. Heather has shown work internationally at events and venues including the World Economic Forum, the Shenzhen Urbanism and Architecture Biennale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, and the New York Historical Society, and has been widely discussed in the media, from the New York Times to Art Forum. Heather is also a co-founder of REFRESH, an inclusive and politically engaged collaborative platform at the intersection of Art, Science, and Technology.   Salome Asega is an artist and researcher based in New York. She is the Technology Fellow in the Ford Foundation's Creativity and Free Expression program area, and a director of POWRPLNT, a digital art collaboratory in Bushwick. Salome has participated in residencies and fellowships with Eyebeam, New Museum, The Laundromat Project, and Recess Art. She has exhibited and given presentations at the 11th Shanghai Biennale, Performa, EYEO, and the Brooklyn Museum. Salome received her MFA from Parsons at The New School in Design and Technology where she also teaches.   ____________________________   Building Cooperatives   What if the organization of labor was integral to your project?   Friday 2/22 from 6-8pm Members of Meerkat Filmmakers Collective and Friends of Light   Meerkat Media Collective is an artistic community that shares resources and skills to incubate individual and shared creative work. We are committed to a collaborative, consensus-based process that values diverse experience and expertise. We support the creation of thoughtful and provocative stories that reflect a complex world. Our work has been broadcast on HBO, PBS, and many other networks, and screened at festivals worldwide, including Sundance, Tribeca, Rotterdam and CPH:Dox. Founded as an informal arts collective in 2005 we have grown to include a cooperatively-owned production company and a collective of artists in residence.   Friends of Light develops and produces jackets woven to form for each client.  We partner with small-scale fiber producers to source our materials, and with spinners to develop our yarns.    We construct our own looms to create pattern pieces that have complete woven edges (selvages) and therefore do not need to be cut. The design emerges from the materials and from methods developed to weave two dimensional cloth into three dimensional form. Each jacket is the expression of the collective knowledge of the people involved in its creation. Our business is structured as a worker cooperative and organized around cooperative principles and values. Friends of light founding members are Mae Colburn, Pascale Gatzen, Jessi Highet and Nadia Yaron.   ____________________________   Healing and Care (OFFSITE EVENT)   How do artists ensure that their individual and collective needs are met in order to dream, practice, work on, and return to their projects each day?   Thursday 2/28 from 6-8pm Adaku Utah and Taraneh Fazeli NOTE this event will be held at 151 West 30th Street  # Suite 403, New York, NY 10001   Adaku Utah was raised in Nigeria armed with the legacy of a long line of freedom fighters, farmers, and healers. Adaku harnesses her seasoned powers as a liberation educator,healer, and performance ritual artist as an act of love to her community. Alongside Harriet Tubman, she is the co-founder and co-director of Harriet's Apothecary, an intergenerational healing collective led by Black Cis Women, Queer and Trans healers, artists, health professionals, activists and ancestors. For over 12 years, her work has centered in movements for radical social change, with a focus on gender, reproductive, race, and healing justice. Currently she is the Movement Building Leadership Manager with the National Network for Abortion Funds. She is also a teaching fellow with BOLD (Black Organizing for Leadership and Dignity) and Generative Somatics.   Taraneh Fazeli is a curator from New York. Her multi-phased traveling exhibition “Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying” deals with the politics of health. It showcases the work of artists and groups who examine the temporalities of illness and disability, the effect of life/work balances on wellbeing, and alternative structures of support via radical kinship and forms of care. The impetus to explore illness as a by-product of societal structures while also using cultural production as a potential place to re-imagine care was her own chronic illnesses. She is a member of Canaries, a support group for people with autoimmune diseases and other chronic conditions.   ____________________________   When Projects Depart   What practices might we develop to honor the departure of a project?  For example, where do materials go when they are no longer of use, value, or interest?   Thursday 3/14 from 6-8pm Millet Israeli and Lindsay Tunkl   Millet Israeli is a psychotherapist who focuses on the varied human experience of loss.  She works with individuals and families struggling with grief, illness, end of life issues, anticipatory loss, and ambiguous loss.  Her approach integrates family systems theory, cognitive restructuring, mindfulness, and trauma informed care. Millet enjoys creating and exploring photography and poetry, and both inform her work with her clients. Millet holds a BA in psychology from Princeton, a JD from Harvard Law School, an MSW from NYU and is certified in bioethics through Montefiore. She sits on an Institutional Review Board for Human Subjects Research at Weill Cornell.   Lindsay Tunkl is a conceptual artist and writer using performance, sculpture, language, and one-on-one encounters to explore subjects such as the apocalypse, heartbreak, space travel, and death. Tunkl received an MFA in Fine art and an MA in Visual + Critical Studies from CCA in San Francisco (2017) and a BFA from CalArts In Los Angeles (2010). Her work has been shown at the Hammer Museum, LA, Southern Exposure, SF, and The Center For Contemporary Art, Santa Fe. She is the creator of Pre Apocalypse Counseling and the author of the book When You Die You Will Not Be Scared To Die.   ____________________________   Group Agreements   What group agreements are necessary in gatherings that occur at residencies, galleries, and cultural institutions today?   Friday 4/19 from 6-8pm Sarah Workneh, Laurel Ptak, and Danielle Jackson   Sarah Workneh has been Co-Director at Skowhegan for nine years leading the educational program and related programs in NY throughout the year, and oversees facilities on campus. Previously, Sarah worked at Ox-Bow School of Art as Associate Director. She has served as a speaker in a wide variety of conferences and schools. She has played an active role in the programmatic planning and vision of peer organizations, most recently with the African American Museum of Philadelphia. She is a member of the Somerset Cultural Planning Commission's Advisory Council (ME); serves on the board of the Colby College Museum of Art.   Laurel Ptak is a curator of contemporary art based in New York City. She is currently Executive Director & Curator of Art in General. She has previously held diverse roles at non-profit art institutions in the US and internationally, including the Guggenheim Museum (New York), MoMA PS. 1 Contemporary Art Center (New York), Museo Tamayo (Mexico City), Tensta Konsthall (Stockholm) and Triangle (New York). Ptak has organized countless exhibitions, public programs, residencies and publications together with artists, collectives, thinkers and curators. Her projects have garnered numerous awards, fellowships, and press for their engagement with timely issues, tireless originality, and commitment to rigorous artistic dialogue.   Danielle Jackson is a critic, researcher, and arts administrator. She is currently a visiting scholar at NYU’s Center for Experimental Humanities.  As the co-founder and former co-director of the Bronx Documentary Center, a photography gallery and educational space, she helped conceive, develop and implement the organization’s mission and programs.  Her writing and reporting has appeared in artnet and Artsy. She has taught at the Museum of Modern Art, International Center of Photography, Parsons, and Stanford in New York, where she currently leads classes on photography and urban studies.   ____________________________ Open Meeting for Arts Educators and Teaching Artists   How might arts educators gather together to develop, share, and practice pedagogies that foster collective skills and values?   Friday 5/17 from 6-8pm Facilitators: Members of the Pedagogy Group   The Pedagogy Group is a group of educators, cultural workers, and political organizers who resist the individualist, market-driven subjectivities produced by mainstream art education. Together, they develop and practice pedagogies that foster collective skills and values. Activities include sharing syllabi, investigating political economies of education, and connecting classrooms to social movements.Their efforts are guided by accountability to specific struggles and by critical reflection on our social subjectivities and political commitments.   ____________________________   Book Launch: Making and Being: A Guide to Embodiment, Collaboration and Circulation in the Visual Arts   What ways of making and being do we want to experience in art classes?   Friday 10/25 from 6-8pm Stacey Salazar in dialog with Caroline Woolard, Susan Jahoda, and Emilio Martinez Poppe of BFAMFAPhD   Stacey Salazar is an art education scholar whose research on teaching and learning in studio art and design in secondary and postsecondary settings has appeared in Studies in Art Education, Visual Arts Research, and Art Education Journal. In 2015 her research was honored with the National Art Education Association Manuel Barkan Award. She holds a Doctorate of Education in Art and Art Education from Columbia University Teachers College and currently serves as Associate Dean of Graduate Studies at the Maryland Institute College of Art, where she was a 2013 recipient of the Trustee Fellowship for Excellence in Teaching.   BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States. The work of the collective is to bring people together to analyze and reimagine relationships of power in the arts. Susan Jahoda is a Professor in Studio Arts at the University of Amherst, MA; Emilio Martinez Poppe is the Program Manager at Fourth Arts Block (FABnyc) in New York, NY; Caroline Woolard is an Assistant Professor of Sculpture at The University of Hartford, CT. Supporting this series at Hauser and Wirth for Making and Being are BFAMFAPhD collective members Agnes Szanyi, a Doctoral Student at The New School for Social Research in New York, NY and Vicky Virgin, a Research Associate at The Center for Economic Opportunity in New York, NY. Making and Being is a multi-platform pedagogical project that offers practices of collaboration, contemplation, and social-ecological analysis for visual artists. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi.

Heather Dewey-Hagborg is one of the most creative people and orthogonal thinkers I have ever had the pleasure to know. I first met and learned of Heather’s work at the Contemporary Museum of Art in Chicago where she presented as a co-founder and co-curator of REFRESH, an inclusive and politically engaged collaborative platform at the intersection of art, science, and technology. Heather has a BA from Bennington College, a Master of Professional Studies in Interactive Telecommunications from New York University, and a PhD in Electronic Arts from Rensselaer Polytechnic Institute. Heather’s work has been shown internationally at events and venues including the World Economic Forum, the Shenzhen Urbanism and Architecture Biennale, and PS1 MOMA, and her work is held in public collections of the Pompidou Center in Paris, the Victoria and Albert Museum in London, and the New York Historical Society.  Heather and her work have been widely discussed in the media, from the New York Times and the BBC to Art Forum, TED and Wired. She has won a number of grants, residencies, and awards for her work. She is a former Assistant Professor of Art and Technology Studies at the School of the Art Institute of Chicago, and is a Visiting Assistant Professor of Bio-Design at Parsons, the New School, an artist fellow at A.I. Now, and an affiliate of Data & Society. She is also a co-founder and co-curator of REFRESH, an inclusive and politically engaged collaborative platform at the intersection of Art, Science, and Technology. Heather got into DNA Phenotyping that resulted her controversial project Stranger Visions, which allowed her to bring awareness to forensic DNA phenotyping and her concern that it could be the next version of racial profiling, which she addressed in “Sci-Fi Crime Drama with a Strong Black Lead” vis-à-vis the use and misuse of DNA data. Heather also worked with whistle blower, Chelsea Manning which resulted in the work, Probably Chelsea, which is an amazing odyssey and outcome. This was followed by a solo-exhibition Genomic Intimacy and her most recent project T3511. Our conversation in this episode is wide ranging, as is her work. There are too few people in the world today like Heather, which is a shame, and is why I am so happy to have had such a wonderful time talking with her and being able to share it with you. It is one thing to read about Heather and her work herein, it’s another to hear her story and thought process via our podcast conversation, but I strongly encourage you to visit her work in person or online via the links below. You won’t be disappointed.  

This week we're talking about do-it-yourself biology, and the community labs that are changing the biotech landscape from the grassroots up. We'll discuss open-source genetics and biohacking spaces with Will Canine of Brooklyn lab Genspace, and Tito Jankowski, co-founder of Silicon Valley's BioCurious. And we'll talk to transdisciplinary artist and educator Heather Dewey-Hagborg about her art projects exploring our relationship with genetics and privacy.

We've seen sonic speed developments in technology over the last decade. How do the possibilities impact upon design and its role in the world moving forward? Last year's 'This Time Tomorrow' exhibition at the World Economic Forum was based on the theme 'The fourth industrial revolution' and curated by V&A museum's Mariana Pestana. Mariana joins me to talk about the work featured, including the much discussed Radical Love by artist Heather Dewey-Hagborg, a 3d print of imprisoned Chelsea Manning, a transgender U.S. Army soldier convicted of espionage after leaking documents to Wikileaks. This Time Tomorrow's six scenarios will present a leap into a potential future and foster debate about their consequences as well as posing pressing questions about the future we choose to create. Mariana Pestana is a fascinating lady with big ideas, working closely with the V&A following her work with The Decorators, a multidisciplinary design practice working with local authorities and public institutions to design, produce and deliver community building interventions in regeneration areas. Episode 45 is not to be missed for those wishing to feed their creative output with the most cutting-edge ideas and technology. https://twitter.com/marianapestana_ - Mariana on Twitter https://www.vam.ac.uk/ - V&A Museum http://the-decorators.net/ - The Decorators official site http://deweyhagborg.com/ - Heather Dewey-Hagborg

Playing For Team Human today, the brilliant and terrifying artist and bio-hacker Heather Dewey- Hagborg. As a transdisciplinary artist, Heather explores the intersection of science, art and biopolitics. Heather recently made the headlines with a project called Stranger Visions, in which she collected random human genetic material left behind in the detritus of public spaces to generate portrait masks of strangers using a process called forensic DNA phenotyping.In another recent project, Radical Love: Chelsea Manning, Heather again used this process of DNA phenotyping to create a series of 3D portraits of whistleblower Chelsea Manning, who is not allowed to be photographed while in prison. Radical Love is both subversive and thought-provoking as it calls attention to Manning’s incarceration as well as issues of gender stereotypes and identity.Visit Heather’s website deweyhagborg.com to learn more about Heather’s many works.Learn more about genspace.org. Genspace promotes “citizen science” offering public access to  biotechnology, lab, and educational resources. Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Playing For Team Human today, the brilliant and terrifying artist and bio-hacker Heather Dewey- Hagborg. As a transdisciplinary artist, Heather explores the intersection of science, art and biopolitics. Heather recently made the headlines with a project called Stranger Visions, in which she collected random human genetic material left behind in the detritus of public spaces to generate portrait masks of strangers using a process called forensic DNA phenotyping.In another recent project, Radical Love: Chelsea Manning, Heather again used this process of DNA phenotyping to create a series of 3D portraits of whistleblower Chelsea Manning, who is not allowed to be photographed while in prison. Radical Love is both subversive and thought-provoking as it calls attention to Manning’s incarceration as well as issues of gender stereotypes and identity.Visit Heather’s website deweyhagborg.com to learn more about Heather’s many works.Learn more about genspace.org. Genspace promotes “citizen science” offering public access to  biotechnology, lab, and educational resources. See acast.com/privacy for privacy and opt-out information.

Welcome to DIYbio.FM, a new podcast exploring the state of the DIYbio movement. Each episode, we’ll be talking to experts and amateurs, working with communities and garage biologists, and even trying out DIYbio projects of our own to answer one question - are we really in the midst of a DIYbio revolution?   Episode 00 - the very beginning. We’re starting simple this week (at least, we thought we were) by trying to define exactly what DIYbio is. It turned to be a harder question to tackle than we expected. To help us, we sought the expertise of some experienced DIYbiologists, including Bioeconomy Capital managing director Rob Carlson, and BioCurious community lab project manager Maria Chavez. To dive a little further into the question, we also took a look at who does DIYbio in this episode, landing an interview with wicked-cool artist Heather Dewey-Hagborg. Not only does Heather Dewey-Hagborg have a name you could joyfully repeat for ages (which we do non-stop in minutes 1:00-15:50 of Episode 00), she also shows us what DIYbio is through her project Stranger Visions. Links:Here’s a cool article on the Altair 8800 from Make Magazine.If you want to learn more about Rob Carlson, his book Biology is Technology, and his enterprises, check out his website here.BioCurious - the community lab in Sunnyvale, CA - has cool projects you can check out, as well as the bio for Maria Chavez.Heather Dewey-Hagborg’s project Stranger Visions, and her broader gallery of work, can be read about on her website.Follow updates from DIYbio.FM on twitter @DIYbioFM

This week we're talking about do-it-yourself biology, and the community labs that are changing the biotech landscape from the grassroots up. We'll discuss open-source genetics and biohacking spaces with Will Canine of Brooklyn lab Genspace, and Tito Jankowski, co-founder of Silicon Valley's BioCurious. And we'll talk to transdisciplinary artist and educator Heather Dewey-Hagborg about her art projects exploring our relationship with genetics and privacy.

Ever think about all the bits of yourself that you leave behind everywhere you go? We all leave behind traces of genetic material pretty much each time we visit any location. Derek's latest guest, Heather Dewey Hagborg, is an artist who had a massive curiosity about just how much of our personal information we leave behind in the form of DNA evidence. Heather went on a personal mission to find out if she could artistically replicate portraits of people from the DNA they leave behind everywhere you go.