http://www.oxfordmail.co.uk/news/10325727.Animal_art_is_put_under_t...
Animal art is put under the microscope
FAMILIES made artistic prints of tiny life forms as seen through a microscope at the Oxford Museum of the History of Science.

The workshop in Broad Street on Saturday set up slides of creatures including flies and bees.

Children and adults then formed their own artistic monoprints from tracings and drawings of what they saw.

Artist Andrew McNeile Jones, 50, and his nine-year-old son Isaac, of North Hinksey, went down to merge art and science.

From Leonardo:

The Leonardo Education and Art Forum (LEAF), the University of Texas at Dallas (UTD) and the College of Fine Arts, University of New South Wales (UNSW) announce a:

2013 CALL FOR CONTRIBUTIONS

INTERNATIONAL CALL FOR EXAMPLES OF INTER-DISCIPLINARY ART-SCIENCE-ENGINEERING-HUMANITIES CURRICULA

Leonardo Executive Editor Roger Malina and UT Dallas doctoral student Kathryn Evans are interested in examples of courses and curricula that are in the art-science-humanities field such as courses on art and biology, music and mathematics, art and chemistry, dance and environmental sciences, etc. Other educators interested in collaborating to develop these resources should contact Kathryn Evans kcevans@utdallas.edu . This call is a follow-up to a similar call in the summer of 2012. Full syallbi should be sent to Paul Thomas at p.thomas@unsw.edu.au to be included in a cloud wiki at http://artsci.unsw.wikispaces.net/. The working group includes Meredith Tromble of the San Francisco Art Institute.

We are interested in the broad range of all forms of the performing arts, including music, dance, theatre and film, and the visual arts; and connecting to all the hard and social sciences. We are including art and new technologies (eg: nano tech) but in general not new media curricula unless they include an art-science component, or art and engineering.

Individuals who have taught an art-science-humanities course at the university or secondary-school level, in formal or informal settings, are invited to contact Kathryn Evans, with details of their curriculum, at kcevans@utdallas.edu. Please send the title and number of the course(s), a short description, the level offered (graduate or undergraduate) and the department(s) in which the course(s) was offered. We are also interested in the “history” of your course – when it was offered, if you had any issues with approval, and how you developed the course. Please include permission to include your course on the CDASH website “Breaking Down the Silos: Curriculum Development in the Arts, Science and Humanities” at http://www.utdallas.edu/atec/cdash/ The site also lists programs and centers that are devoted to Art- Science-Humanities research and curriculum.

http://www.skidmore.edu/news/2013/0330-computer-science-art-show-an...
Computer Science art show announced

http://www.smithsophian.com/news/archaeology-professor-kathleen-lyn...
On March 27, Professor Kathleen Lynch, archeologist from the University of Cincinnati, came to Smith to give a lecture entitled “Greeks Bearing Gifts: Athenian Potters and their Anatolian Customers” – sponsored by the department of chemistry, the Lecture Committee, the Smith College Museum of Art, the departments of art and classics and the archaeology program – in honor of Chemistry Professor Lale Burk’s retirement at the end of this year.

http://www.nation.com.pk/pakistan-news-newspaper-daily-english-onli...
Nerds of Art and Gurus of Science at GCU

http://science.nbcnews.com/_news/2013/04/03/17586172-so-thats-what-...
So that's what human cells look like in space!

http://www.digitaljournal.com/pr/1163811
See all stories on this topic »
The Crucible Hosts “The Science of Art” Annual Open House
DigitalJournal.com (press release)
With an eye toward creativity, innovation, and community, The Crucible will host its annual Open House, “The Science of Art,” on Saturday, April 6 from 11AM to 4PM. Crucible guests will journey into its 56,000-square-foot warehouse to deconstruct works ...

http://blogs.scientificamerican.com/symbiartic/2013/04/05/guest-pos...

Painting With Chimps

http://www.cuindependent.com/2013/04/03/combine-art-and-science-to-...
Combine art and science to chase away climate change skepticism

“Science gives us such an understanding of the world, but so little of it has gotten out to the public.”

The aesthetic appeal of art could bridge that gap and climate change could be communicated in a creative and effective manner to a larger and more diverse crowd.

http://www.globalpost.com/dispatch/news/asianet/130404/nerds-art-an...
Nerds of Art and Gurus of Science at GCU

From GV Art:
You, Me & the other Person
Katharine Dowson, Eleanor Crook & Pascale Pollier
Exhibition continues until Saturday 18 May 2013
Our current exhibition Me, You or the Other Person meditates on the representation of the human body. The concept of the figure is interpreted, dissected and revealed by three contemporary female sculptors.

Image : Pascale Pollier, Female Ecorche (detail), 2009, mixed media
Susan Aldworth, Elisabeth (detail), 2012
The Portrait Anatomised
Susan Aldworth

Continues until 1 September 2013
National Portrait Gallery, London

Three large portrait installations of people living with epilepsy which expand the notion of contemporary portraiture.
Watch the accompanying film - The Portrait Anatomised Film
(www.gvart.co.uk)

http://bowdoinorient.com/article/8159
Per Kirkeby exhibit fuses geology and art through mixed media
Danish artist Per Kirkeby is a world-renowned renaissance man, known primarily for his geologically inspired paintings. He also, however, identifies as a sculptor, filmmaker, architect and writer.

“Per Kirkeby: Paintings and Sculpture” opened at the Bowdoin Museum of Art on March 26 and currently dominates the entire second floor of the museum. The exhibit showcases approximately 45 of Kirkeby’s works in a variety of mediums.

From Arts Catalyst:
Nuclear Culture on Film

Sunday 28 April, 11am-5.30pm

The Arts Catalyst, 50-54 Clerkenwell Road, London EC1M 5PS

A programme of artists’ films and roundtable discussion investigating nuclear culture from the perspective of the 21st century from nuclear entropy, utopian and dystopian belief systems, questioning scientific certainty, political agency and the proliferation of nuclear culture.

Films by Mark Aerial Waller, Isao Hashimoto, Sandra Lahire, Otolith Group, Eva & Franco Mattes, Chris Oakley and Yelena Popova, followed by a roundtable discussion with artists Kodwo Eshun (Otolith Group) and Mark Aerial Waller in conversation with philosopher Liam Sprod, chaired by Susan Kelly. Curated by Ele Carpenter.
Melanie Jackson, The Urpflanze (Part 2)
Flat Time House, 210 Bellenden Road, London SE15 4BW

Open Thursday-Sunday 12noon-6pm, until 12 May 2013

Last Friday late opening, 26 April until 8.30pm

Melanie Jackson's The Urpflanze (Part 2), continues Jackson's investigations into mutability and transformation, taking a lead from Goethe's concept of an imaginary primal plant, the Urpflanze, that contained coiled up within it the potential to unfurl all possible future forms.

Melanie Jackson in conversation with Esther Leslie
Friday 26 April 6.30-8.30pm

To coincide with South London Art Map (SLAM) Last Friday, FTHo will present a kitchen salon with Melanie Jackson and in conversation with Esther Leslie who she collaborated with on THE UR-PHENOMENON, a publication available as part of the exhibition. Esther Leslie is Professor of Political Aesthetics in the Department of English and Humanities at Birkbeck. She is the author of Synthetic Worlds: Nature, Art and the Chemical Industry (2005).
The Arts Catalyst | 50-54 Clerkenwell Road | London, London EC1M 5PS, United Kingdom

http://www.chicagotribune.com/features/books/ct-prj-0407-where-why-...
Science illustrated
Chicago Tribune
"It's more of an art book than a science book," Rothman says. "We're more curators of art than science. We're artists and designers ourselves." "We conceived it as a combination of the two," Volvovski adds. "The inspiration was this melding of art and ...

http://biology.missouri.edu/news/art-in-bloom/
Art in Bloom
Yun Pan, a biological sciences major, has her art work displayed in the Tucker Hall Greenhouse.

Titled “The Life Cycle of Butterflies,” the work shows the life stages of the butterfly, from caterpillar to chrysalis to butterfly. The pieces are suspended by string from a tree in the desert room of the greenhouse.

The project is an assignment for a drawing course Pan is taking this semester. For the assignment, she had to design a three-dimensional art piece that “interacts with a specific site” and “defines the space.”

Pan had the idea of installing the artwork in Tucker Greenhouse after visiting it as part of a Plant Systematics course she is taking this semester in biology.

The project afforded Pan the opportunity to bridge her two loves: biology and art. “This was the best opportunity for me to make biology communicative through art,” says Pan, who is minoring in art.

http://news.yahoo.com/science-art-diagramming-culturing-life-chemic...
The Science and Art of Diagramming: Culturing Life and Chemical Sciences, Part 2

http://museumtwo.blogspot.in/2013/04/why-do-we-interpret-art-and-sc...
Why Do We Interpret Art and Science So Differently?
A genius has just created a major body of work. Her work is monumental in her field, but her achievements are somewhat opaque to the general public.

Imagine seeing a museum exhibition related to this person's work. What will you experience?

The answer depends on what kind of museum you are visiting.

If we're talking about an an artist working in the context of an art museum, it's likely that the genius' work will be presented with minimal interpretation. Labels will reference the importance of her work in the context of the art world. The curator and any educators will work around and noticeably behind the artist herself.

If we're talking about a scientist in a science museum or science center, the presentation will be completely different. Museum exhibition designers will distill her achievements into stories, objects, and interactive components that are understandable to lay people at the middle school level. The genius might have a quote, photo, or object on display to give context to the story, but the majority of the content will be developed and produced by the museum, not the scientist.

Both of these approaches have plusses and minuses. Science museums get criticized for "dumbing down" big ideas for a general audience. Art museums struggle with seeming "pretentious" and narrow in their interpretation.

As someone who has worked in both science and art museums, I'm confused as to why there is such a gulf in our perspectives on how and why interpretation fits into the picture. Artists and scientists both work in specific contexts on big, complicated ideas. There are huge opportunities for science and art museums to cross-program with geniuses like Olafur Elliason, James Turrell, and many, many folks working across the art/science spectrum. While a few institutions have capitalized on the intersections between art and science (notably, the Exploratorium, Science Gallery, and the New York Hall of Science), most stay squarely in their own camps.

Why do we think science is impossible to communicate in its "pure" form but that art must be communicated in that way lest it be distorted? Why do we think scientific research is any more or less understandable to the general public than fine art? Considering the emphasis in schools on science and the evisceration of art programs, I wouldn't be surprised if science literacy is higher than art literacy in contemporary American society.

Both types of institutions would be well-served if we examined the expectations underlying our work and whether we are going overboard to disassociate ourselves from them.

In science centers, we try to combat the notion that science is complex work for a limited, rarified few. So we focus on the idea that "you can be a scientist" and that "science is fun." Do these democratizing messages prevent us from pursuing interesting ways to present the extraordinary genius of some scientists and the incredible complexity and repetition of scientific work?

In art museums, we try to combat the notion that art is something your child can do, and if you like it, it's art. So we focus on the idea that "artists are special" and that "art is complicated." Do these elitist messages prevent us from exploring useful ways to honor the creativity in everyone and the simple pleasures of aesthetics?

It's ironic that the stereotypes we're trying to run from lead us to each other.

http://www.startribune.com/entertainment/stageandarts/201538211.html

Science sparks art at two Minneapolis museums

Using electrical current to singe, scar and even burn holes in his abstract drawings, Goldes blends art, science and history in unconventional ways. His project complements a broader effort by the Bakken — a museum of science and electricity — and the Bell Museum of Natural History to bridge disciplines and entice new audiences.

“I think the arts, history and literature are ways to humanize science and spark conversations about it in less threatening and more intimate ways,” said Bakken director David Rhees.

To that end the Bakken in summer turns its rooftop terraces into a green-energy sculpture park in which wind, water, sunlight and human power generate electricity for interactive sculptures. It also stages such events as its new “Current Affair,” a kind of date night for science buffs complete with live music, cash bar and entertainment in “Ben Franklin’s Electricity Party Room.”

http://cutpastegrow.com/what-is-biodesign-what-is-bioart/
What is Biodesign? What is Bioart?

About the Show

Image courtesy Revital Cohen.
What is Biodesign? What is Bioart?

Posted by Wythe on Monday, April 1, 2013 · Leave a Comment

An illustrated lecture by writer William Myers at Observatory
Date: Friday, April 19
Time: 8 PM
Admission: $10 – copies of BioDesign will be available for purchase and signing

For centuries, artists and designers have looked to nature for inspiration and for materials, but only recently have they become able to incorporate living organisms or tissues into their work. This startling development at the intersection of biology and design has created new aesthetic possibilities and can help address the growing urgency to build and manufacture ecologically.

In this talk, William Myers, author of the new book BioDesign: Nature + Science + Creativity, will present several recent experiments in harnessing biology for art and design: from thoroughly serious and practical applications to provocative, gorgeous works of art. Highlights include a portrait of the human microbiome, a footbridge supported by willow trees, packaging made with mushrooms and a scheme to use bacteria to solidify sand dunes into walls in the desert.A Q&A and book signing will follow the presentation.

http://news.yahoo.com/science-art-diagramming-culturing-life-chemic...
The Science and Art of Diagramming: Culturing Life and Chemical Sciences, Part 2

http://tcaproject.org/
The Tissue Culture and Art Project

http://www.chicagotribune.com/news/local/suburbs/glenview/briefs/ch...
Art of Science comes to Willowbrook School
Willowbrook students in third and fourth grades explored science using various art mediums as part of the Art of Science program March 21.

"Students prepared for the show by exploring science (in) the world around them using the language of the arts," according to a school press release. "In the show, they used their creativity and knowledge to perform music, dance, songs and skits to interpret the specific areas of astronomy, biology, geology and physics."

http://timesdelphic.com/2013/04/08/balancing-art-and-science
Balancing art and science
Natural photographer James Balog captured the attention of the Knapp Center at Drake University Wednesday night ( 9th April) as he addressed misconceptions revolving around global climate change.
According to the “Extreme Ice Survey” website, “28 cameras are deployed at 13 glaciers in Greenland, Iceland, the Nepalese Himalaya, Alaska and the Rocky Mountains of the U.S. These cameras record changes in the glaciers every half-hour, year-round during daylight, yielding approximately 8,000 frames per camera per year.”

“Art and science are about bringing the left brain and the right brain together,” Balog said. “I never understood the power of photography until I started this project.”

“As an art major, it’s always refreshing to see an artistic perspective on such a global issue,” first-year Susanna Hayward said.

He described how the glaciers act as a “bermometer,” which he explains as a combination between a barometer and a thermometer. “It is exquisitely sensitive, it is almost alive,” Balog said. His images preserve a visual legacy of the glaciers that are ceasing to exist and will be useful in years to come in revealing the impacts of climate change and human activities.

“Nature isn’t natural anymore,” he said, making his point with a variety of graphs showing the unnatural peaks of carbon dioxide and the effect that those chemicals have on the atmosphere.

Balog hopes that through his work, he can shed light on the misconception that humans cannot change earth, because the evidence points strongly in the other direction. He argues that it affects all humans because we all breathe air, eat, drink water and pay taxes, so we should all be doing our part.

http://www.independent.ie/lifestyle/alto-by-mark-francis-29179150.html
TIME was when that so-called Renaissance Man was the true all-rounder. Wikipedia, move over. Science, literature, art, music, politics might seem separate and distinct, but the truly educated man and woman should be at ease among those different worlds.

Scientist, writer, artist and composer co-exist, interconnect and respond uniquely to the world. A painting can capture scientific progress; a composer can capture a terrorist atrocity; a novelist can capture political temperatures.

In Mark Francis's work, art and science combine with startling, fresh results. If you want to know what's modern, Alto by Mark Francis is a bang-up-to-date painting. It works on many levels. The initial impact is a bright blaze of horizontal lines, some pencil thin, some broader bands, dissolving towards blur in places. The mixture of acrylic and oil makes for a high-gloss sheen and dancing, hovering, before this multi-coloured barcode are matt, fuzzy-coloured discs, eight in all, their surfaces providing contrasting textures.

The orange, blue, red and yellows are all the more vibrant because of those pure black strokes; there's both a top-to-toe energy and a three-dimensional energy between circle and vertical.

London-based Mark Francis, whose work hangs in New York's Metropolitan, Machida Museum, Tokyo, London's Tate, IMMA and Hugh Lane, is from Newtownards, Co Down.

As a boy, he loved the natural world – rock pools, birds' eggs, fungi – and his earlier work has been inspired by what the microscope reveals. This new work explores how radio telescopes chart far-off, cosmic zones. He calls his latest show Calibrate; in other words, he's interested in precise, accurate measurements. "Radio telescopes," says Mark Francis, "are pointing to the skies continuously listening for sounds. It could be the sound of a distant star that exploded millions of years ago. We are only now hearing them."

Interested in what the human eye can not ordinarily see and what scientific research tells us, "I always wonder what the edge of the universe is like," says Francis. The radio telescope is accurate and precise. Mark Francis does more, he gives us an optical intensity and an open space. This art is the future.

And why the title Alto? Doesn't that canvas zing and sing?

Calibrate runs at the Kerlin Gallery, South Anne St, Dublin until April 13

http://subtletechnologies.com/workshops/?goback=.gde_1636727_member...
Tissue Engineering Workshop with Oron Catts
Workshop dates: May 22, 23, 24, 2013

Location: Pelling Lab at the University of Ottawa. Ottawa, Canada

Workshop fee: $250

To apply: submit an online application form

Application deadline: May 1, 2013

Subtle Technologies is excited to announce an upcoming workshop on Tissue Engineering. In partnership with SymbioticA, at The University of Western Australia and the Pelling Lab at the University of Ottawa. This workshop is being presented by Oron Catts and Andrew Pelling and his team at the Pelling Lab for Biophysical Manipulation. With thanks to; Dr Stuart Hodgetts, Dr Ionat Zurr & Bryan Keith.

The idea of growing products rather than manufacturing them has been explored and critiqued through the notion of the semi-living by the Tissue Culture and Art Project (TC&A) since 1996. It stems from the developments in biomedical research in the 1990s; in particular tissue engineering and regenerative medicine. The premise was that we can evoke the latent regenerative abilities of the biological body to grow organs and tissues either inside or outside of the biological or techno-scientific bodies. In the last fifteen years, many artists have used living tissue as a medium for artistic expression. The workshop will cover some of the main techniques of regenerative medicine and will explore the broader cultural and artistic implication of using living tissue within an artistic context.

http://blogs.artcenter.edu/dottedline/2013/04/08/artnews-williamson...

ARTnews Recognizes Williamson Gallery as Shaping Art/Science Movement

In the March 2013 issue of ARTnews Magazine, arts writer Suzanne Muchnic features the Alyce de Roulet Williamson Gallery on the Art Center Hillside Campus and its nearly two decade-long series of exhibitions. The cover story, “Under the Microscope,” also features other leading contributors to the burgeoning art/science movement, noting that “in museums, schools, and research facilities, scientists and artists are swapping methods.”

When it opened, the Williamson Gallery organized exhibitions featuring an international group of artists engaging with science and using new technologies. Exhibitions such as Digital Mediations (1995), Charles and Ray Eames’ Mathematica (2000), GHz: The Post-Analog Object in L.A. (2002), and collaborations with experimental new-media artists Jim Campbell (1997), Sara Roberts (1998), Jennifer Steinkamp (2000), Paul De Marinis (2001), Christian Moeller (2001) and Michael Naimark (2005) exposed new experimentations that helped expand the vocabulary of contemporary art and its critique.

The gallery has also become a recognized venue for  art/science projects that were organized elsewhere and are now travelling to museums worldwide. Such exhibitions include Telematic Connections: The Virtual Embrace (2000), Situated Realities: Works from the Silicon Elsewhere (2002), Paradise Now: Picturing the Genetic Revolution (2003), Crochet Coral Reef (2011) and The History of Space Photography (2012).

http://blogs.artcenter.edu/dottedline/wp-content/uploads/2013/04/Un...
Under the Microscope - the science-art movement in the US

http://www.studio360.org/2013/apr/05/winner-remixing-spring/?goback...
using a dozen bird songs recorded by the Cornell Lab of Ornithology, we asked you to create an original musical composition on the theme of Spring. We received more than 100 compositions, ranging from classical to electronica to jazz, even radio drama. (Listen to them all below.) This week, Greg Budney, curator of audio at the Lab, and Kurt Andersen announce their favorites. The winning entry, Marlo Reynolds’ “Certhia Americana,” took the Brown Creeper as its base, mixing the bird’s call with a poem written and performed by Reynolds’ collaborator Gump.

http://www1.umn.edu/news/news-releases/2013/UR_CONTENT_438538.html
'Bell Social' returns April 27 to celebrate science, art and music

http://www.thebulletin.org/web-edition/columnists/kennette-benedict...
Science, art, and the legacy of Martyl
Martyl first considered using the letter U, the chemical symbol for uranium, as her design. As she listened more intently to their conversations, though, she soon realized that it was the atomic scientists' urgency about the looming dangers of this new technology that was most compelling. So she drew the hands of a clock ticking down to midnight. Like the countdown to an atomic bomb explosion, it suggested the destruction that awaited if no one took action to stop it.

Martyl created a substantial body of artwork over the years, and would sometimes chuckle about how she came to be known as the "clock lady," bemused by all the attention for a simple drawing. But I think she also came to enjoy the recognition she won for creating one of the most significant graphic designs of the 20th century.
Martyl became art editor of the Bulletin, illustrating issues and persuading her artist friends to contribute their drawings as well, "for pennies," as she put it. She thought the eye needed a rest from the text-heavy pages with news about atomic energy, Soviet and US nuclear bomb tests, government secrecy, and the ethics of conducting scientific research for the military.
While the drawings and designs in the Bulletin added humor and visual appeal, the publication also reflected a deeper connection between art and science through the quality of the writing, the expressiveness of the authors, and the continuous use of the Doomsday Clock to "exploit the wonderful capacity of the human mind to comprehend wholes without seeing the parts," as Martyl wrote on page 51 of the February 1959 issue. Her clock design conveyed the state of nuclear danger with exquisite economy; the editors appealed to both the heads and hearts of their readers.

The February 1959 issue, titled "Science and Art" and co-edited by Martyl and University of Chicago metallurgy professor Cyril Stanley Smith, drew an explicit connection. In the introductory essay, they compared the work of artists to that of scientists, suggesting that "the artist is concerned principally with complex relationships and depends on active participation of his audience in developing the pattern," while the scientist lays out results with simple precision so that the audience can understand an aspect of the world.

To this day, the Bulletin seeks participation by scientists, artists, writers, policy makers, and interested citizens to lead an intelligent debate about the mind-numbing, often horrifying, problems of nuclear and climate change catastrophe. To move past the numbness and provoke action, the Bulletin draws on art and design to create new ways of feeling, just as it taps science for new ways of knowing. In large measure, this is Martyl's legacy.

A constant presence in the Bulletin community, Martyl was a spirited, outspoken force among the likes of Fermi, Simpson, Szilard, Fermilab director Robert R. Wilson, and Nobel physicist Leon Lederman. She invited them and their families to her family's home for dinners and parties. She came to know their foibles and quirks in the close-knit community of Chicago scientists and intellectuals during the 1940s, 1950s, and 1960s, and she also understood that these brilliant scientists, for all their genius and wisdom, wrestled with their own demons as they sorted out their reactions to the Bomb.

http://www.irishexaminer.com/lifestyle/appliance-of-science-to-his-...
Appliance of science to his art
If that last statement seems to veer into science rather than the language of aesthetics, there is a good reason for that. Foley recalls early days reading art history and not seeing his intuitions discussed. He did, however, find a useful descriptive metaphor in science writing. Though he is by his own admission an armchair fan, he did find it enabling. “The way science and physics has moved, to that idea that we all are made of the same stuff. I related to that language. Looking at particle physics, the Uncertainty Principle, that is how I feel when I think about painting. That opened up a landscape to me. Science and art don’t have to be separated at all. Scientists are looking at reality too. The language in that was what I was looking for, that was the connection.”

http://stellrscope.com/2013/04/09/massive-magical/?goback=.gde_1636...
Massive & MAGICal
assive and MAGICal – ‘MAGICal Wheat’ by Eleanor Gates-Stuart in collaboration with Dr Sherry Mayo, CSIRO.

On-going StellrScope research on wheat structures and visualising the wheatear. Sherry produced a 3D micro-CT scan of a section of wheat and Drishti to render the data. MAGICal A is merged with the movie file – both image files are connected to 3D spatial data of wheat, its DNA and growth.

This movie file is a preview to the forthcoming, CSIRO informed science art works StellrScope at Questacon in August and at the CSIRO Discovery Centre.

http://www.sltrib.com/sltrib/blogsburger/56130566-53/utah-youth-cro...
The Crossroads Project — a mixture of music, art and science — to be presented at U of U
The fragile ecosystem and its challenhes will be presented in a mixture of music, art and science called The Crossroads Project on April 28 at the University of Utah’s Libby Gardner Hall, sponsored by the Utah Youth Orchestras.
Musicians from the Fry Street Quartet at Utah State University will, according to a news release, "take the audience on an intellectual and emotional journey while photographic and visual images of earth’s fragile ecology are flashed on screens. Physicist and educator Dr. Robert Davies ties the elements together with timely messages and commentary.

Davies, who emphasizes that the presentation is science-based, warns that 'the same science that informs us of our peril, opens windows for escape. But the hour is late, and the windows quickly closing. For all our good intentions, we are badly losing this game."'Rather, Davies hopes The Crossroads Project – so named to underscore a crucial juncture where so much of life hangs in the balance – can help civilization "transform our great and difficult task, into a magnum opus of human achievement." Seen around the world in venues from Boston and New York to Monterrey Mexico and Brazil, The Crossroads Project is gaining critical acclaim not only for its message but the multidisciplinary way the message is delivered. Composer Laura Kaminsky’s original music is performed along with the works of Haydn and Janáček. This ambitious uniting of the arts and science produces a forceful commentary on global sustainability."

http://thedailycougar.com/2013/04/09/art-science-collide/
Art, science collide
The chairman of the Department of Ophthalmology at Methodist Hospital presented a world where science and art collide to make something unique and powerful, and he explored how much of that art is science, and how much is experimentation.

Doctor Richard Fish presented the lecture as an optometrist and as a lover of art. His lecture, The Eye: Ocular Diseases and Visual Artists, showcased famous artists and how their works might have been influenced by ocular diseases.

“Many people think that impressionists suffered myopia (nearsighted),” Fish said. “But when you look at some of their earlier work, you can see that it’s very clear and has plenty of detail so it’s much more likely that they were just experimenting with technique.”

That wasn’t the case for some artists, though. Claude Monet and Mary Cassatt suffered from cataracts later in life that impaired their work. Fish presented their work before cataracts and as the disease progressed. The vibrant colors and rich detail were lost to muddy reds and simple sketching.

Art Science Gallery: http://www.indiegogo.com/projects/join-our-evolution-at-art-science...
For all of you awesome science artists, we've created this gallery with you in mind - a space dedicated to science-art fusion of all kinds, and a place to show your work.  Also, please help us spread the word if you can!
Join Our Evolution at Art.Science.Gallery.
Art.Science.Gallery. is an art gallery and science communication space in Austin, Texas. We are evolving from a "pop-up" space to a brick-and-mortar gallery!

EXPLORATORIUM OPENS APRIL 17, 2013 ON SAN FRANCISCO’S WATERFRONT AT PIER 15
New Embarcadero Gem to Feature 150 New Exhibits, Bay Observatory,
Outdoor Gallery and Free Civic Space - more opening day information

The Exploratorium is a museum of science, art, and human perception located in San Francisco, California. We believe that following your curiosity and asking questions can lead to amazing moments of discovery, learning, and awareness and can increase your confidence in your ability to understand how the world works. We also believe that being playful and having fun is an important part of the process for people of all ages.

The new, 330,000-square-foot museum at Pier 15 along the Embarcadero has three times more space than the previous location at the Palace of Fine Arts in the city’s Marina neighborhood.

For most students, science is still defined by textbook chapter assignments on Monday and vocabulary quizzes on Friday. Regrettably, only about one out of ten classrooms give students an opportunity to experience science in an interactive way. The Exploratorium is working to change that.

The Exploratorium first opened in 1969 with Cybernetic Serendipity, the seminal exhibition of art, science, and technology curated by Jasia Reichardt for the Institute of Contemporary Art in London. Soon after, in 1974, the creation of an artist-in-residence program made possible dialogue and collaboration between artists and other interdisciplinary thinkers such as scientists, engineers, educators and inventors. By the late 1970‘s the Exploratorium had established itself as the home for a burgeoning counter-cultural art scene.

Thanks for the information, Mark!

http://weather.aol.com/2013/04/05/nasas-robert-simmon-on-transformi...
NASA's Robert Simmon on Transforming Science Into Art
The art director translates complex satellite data into stunning images.
Some of the most stunning and well-known images to come out of NASA in recent years - including the Blue Marble image of Earth that was the default shot on countless new iPhone screens - were created by a group of six people working in a government office in Maryland. At the helm is Robert Simmon. He's the art director for the Earth Observatory, the NASA website that communicates the agency's Earth science research to the public. The EO takes data about climate and the environment from NASA satellites, research and climate models and transforms it into images and animation that non-scientists can understand. His images often inspire wonder and awe.
Basically, we've learned how to use data and turn those into images. Depending on the data set -- because some are much easier to use than others -- the process is: You find out about some interesting topic and go and get the raw data. Data comes in a few different flavors. The easiest to explain is true-color imagery, which is like the red, green and blue channels in a digital photograph. This data comes from satellites. It's the same idea with false-color images, except that one or more of the channels may be from wavelengths invisible to human eyes, like infrared. The second type of data is measurements. We'll also make charts, which could represent data from satellites, models or direct measurements from instruments on the ground, a plane or a weather balloon.

Working from the raw data is significant because scientists are usually making images for their peers, not broader audiences, and they're trained in science, not graphic design or data visualization. We try to make imagery that appeals to, and is understandable by, non-experts.

We'll first process the data in a way so that it can be read by software like Illustrator and Photoshop and then we do the finish, polish layer. The little final touches make something a really striking, attention-grabbing image that people can really resonate with.
Your background is mostly in engineering, but creating these images seems almost like artwork. Did you have any experience studying art before you got to NASA?

I don't have any formal training in either art or design, but essentially was self-taught from going to art museums -- living in DC, they're all free -- and learning to appreciate the visual side of things. Then, having a good science background from an engineering degree meant that I could understand scientists. I was in this position where I'm not a scientist and not an artist, but can understand both worlds. And I think that -- this is a generalization and obviously not entirely true -- there are a lot of scientists that are uncomfortable with art and a lot of artists who are uncomfortable with science. Being squarely in the middle is pretty much perfect for what I do. I'm just trying to present information as clearly as possible: information that can be very complex, as well as information that is very relevant and, in some ways, controversial.

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THREE DAYS | 100 HIGH SCHOOL STUDENTS | $5,000 IN PRIZES

A new kind of competition for Utah high school students will come to The Leonardo on June 6th. Mind Riot is a three-day innovation collaboration that brings high school students together with experts in STEM (science, technology, engineering and math), business and creativity to work on some of the biggest and most important challenges human beings face today.

Only 100 students will be selected to participate. Applications are open to all Utah high school students currently enrolled in 8-12 grade, but the deadline is fast approaching! Application materials must be submitted online or postmarked no later than Sunday, April 14.
WHO SHOULD APPLY?

Students who get how to use science, technology, engineering and math in the real world. Crazy-creative types. Inventers and builders who know what it really takes to make stuff. People who are good organizers and leaders. And then there are the ones who aren’t afraid to get up and talk – the orators and performers.
If you know (or are) a high school student who fits any of these descriptions, visit mindriot.theleonardo.org to learn how to get involved.

Questions? Please feel free to contact Michael Petralia at mpetralia@theleonardo.org or 801 531 9800 x 122.

http://www.utsandiego.com/news/2013/apr/11/balboa-park-cultural-par...
http://www.utsandiego.com/news/2013/jan/22/tp-balboa-park-cultural-...
You and the arts can provide solutions
Balboa Park looking for volunteers for Art of Science Learning project

http://www.gosanangelo.com/news/2013/apr/11/special-family-day-conn...
Senior biochemistry major Alexis Mobley likes to think she has good chemistry with children.

On Saturday, Mobley and her Angelo State University American Chemistry Society counterparts will get a chance to test that theory as they help a slew of kids with science experiments.

The chemistry students are combining art with science at this month’s San Angelo Museum of Fine Arts Family Day.

Tissue Engineering Workshop with Oron Catts
Workshop dates: May 22, 23, 24, 2013
Location: Pelling Lab at the University of Ottawa Canada
Workshop fee: $250
Subtle Technologies is excited to announce an upcoming workshop on Tissue Engineering. In partnership with SymbioticA, at The University of Western Australia and the Pelling Lab at the University of Ottawa. This workshop is being presented by Oron Catts and Andrew Pelling and his team at the Pelling Lab for Biophysical Manipulation.
http://subtletechnologies.com/workshops/
http://fs4.formsite.com/subtletechnologies/form5/index.html
Application deadline: May 1, 2013

From SymbioticA:
The Puzzle of Neolifism, the Strange Materiality of Regenerative and Synthetically Biological Things
Public talk with Oron Catts
Date: 30 May 2013
Time: 6 to 7pm
Venue: Murdoch Lecture Theatre, Arts Building, University of Western Australia
Parking: P3, Hackett Entrance 1
Cost: Free, but RSVP essential
Bookings: http://bit.ly/Y9MTN4
In 1906 Jacques Loeb suggested making a living system from dead matter as a way to debunk the vitalists' ideas and claimed to have demonstrated 'abiogenesis'. In 2010 Craig Venter announced that he created "the first self-replicating cell we've had on the planet whose parent is a computer", the "Mycoplasma laboratorium" which is commonly known as Synthia. In a sense Venter claimed to bring Loeb's dream closer to reality. What's relevant to our story is that one of the main images Venter (or his marketing team) chose for the outing of Synthia was of two round cultures that looked like a blue eyed gaze; a metaphysical image representing the missing eyes of the Golem. These are the first bits of a jigsaw puzzle that will be laid in this talk. Through the notion of Neolifism, this puzzle will explore and Re/De-Contextualise the strange materiality of things and assertions of regenerative and synthetic biology. Other parts of the puzzle include a World War II crash site of a Junkers 88 bomber at the far north of
Lapland, the first lab where the Tissue Culture & Art Project started to grow semi-living sculptures, frozen arks and de-extinctions, Alexis Carrel, industrial farms, Charles Lindbergh, worry dolls, rabbits' eyes, ear-mouse, gas chambers, active biomaterials, in-vitro meat and leather, incubators, freak-shows, museums, ghost organs, drones, crude matter, mud and a small piece of Plexiglas that holds this puzzle together.
SymbioticA's Agency in Movement Symposium
Friday 21st June 2013 9am-5pm
The University of Western Australia G06 Moot Court
Free registration (RSVP essential to christopher.cobilis@uwa.edu.au)
The Agency in Movement symposium employs a variety of disciplines to explore the complex relations between movement and vitality.
Motion is observed by attaching a frame of reference to a "body" and measuring its change in position relative to another reference frame. Therefore, movement is relative, means ever changing and is perceived as visceral and "alive". The Symposium will include invited speakers from diverse disciplines (art, performance, biology, biophysics, biomechanics, and philosophy) who will explore and interrogate the conceptual and technical relations between life (biological or artificial), movement and perceptions of "vitality", with the hope that some interesting meeting points and/or negations will emerge.
The symposium stems from an Australian Research Council project exploring the use of skeletal muscle tissue which is grown, stimulated and activated in a techno-scientific surrogate "body". This moving twitching (semi) living material evokes, makes unease, and asks, in sensorial and theoretical means about issues of aliveness and agency. The project is concerned with onto-ethico-epistemological (Barad 2010) questions about life and the affect created through the phenomenon of movement.
Speakers include: Monika Bakke, Andrew Pelling, Elizabeth Stephens, Jonas Rubenson, Stuart Hodgetts, Chris Salter, Jennifer Johung, Oron Catts, Miranda Grounds and Ionat Zurr
http://www.symbiotica.uwa.edu.au/activities/symposiums

Adaptation exhibition available to tour nationally 2013-14
SymbioticA's Art and Ecology project Adaptation, exhibited first in Mandurah last year is now available to tour in Australia via Art On The Move. Interested venues and groups should check:
http://bit.ly/XAl23l
Adaptation's first stop is Katanning (WA) in May.

ymbioticA seminar series

Guy Ben-Ary and Kirsten Hudson: In Potentia

Date: 19 April 2013
Time: 3:00pm
Location: SymbioticA
Speakers: Guy Ben-Ary and Kirsten Hudson

Interested in how art has the potential to problematise the shifting forces that determine life and death, Guy Ben-Ary and Kirsten Hudson have developed in potentia: a liminal, boundary creature created as a speculative techno-scientific experiment with disembodied human material, diagnostic biomedicine equipment and a stem cell reprogramming technique called induced pluripotent stem cells (iPS). Beginning with foreskin cells purchased from an on-line catalogue, Ben-Ary and Hudson use iPS cell technology to reverse engineer foreskin cells into embryonic (like) stemcells and then further transform them into neurons. What results is in potentia: a functioning neural network encased within a purpose built sculptural incubator reminiscent of eighteenth century scientific paraphernalia. Complete with custom-made automated feeding and waste retrieval system and electrophysiological recording setup, in potentia converts neural activity into an unsettling soundscape that challenges understandings of "life" and the malleability of the human body.

Created from animate and inanimate matter, in potentia summons us to consider how techno-scientific developments have led us to a point where one's corporeality no longer imposes strict limits on the body, or even on life and death. Embodying the unsettling possibilities of the not-yet living and the not-yet dead, in potentia not only symbolises our worst nightmares regarding the destruction of clear-cut categories of life, death and embodied material wholeness; it also forces us to see that rather than being a concrete and discrete category, who or what is called a person is a highly contingent formation that is neither stable nor self-evident. Ben-Ary and Hudson's alchemical transformation of living human material thus makes us wonder: What is the potential for artworks employing bio- and other technologies to address, and modify, boundaries surrounding understandings of life, death and personhood? And what exactly does it mean to make a living biological brain from human foreskin cells?

FROM THE LABORATORY TO THE STUDIO:
INTERDISCIPLINARY PRACTICES IN BIO ART
May 21-June 21
School of Visual Arts New York
4 undergraduate studio credits; USD$2400
>From anatomical studies to landscape painting to the biomorphism of surrealism, the biological realm historically provided a significant resource for numerous artists. More recently, bio art has become a term referring to intersecting domains of the biological sciences and their incorporation into the plastic arts. Of particular importance in bio art is to summon awareness of the ways in which biomedical sciences alter social, ethical and cultural values in society.
http://www.sva.edu/special-programs/summer-residency-programs/bio-art

CALL FOR PROPOSALS
Art & Science - Hybrid Art and Interdisciplinary Research 2014
Estonian Museum of Applied Art and Design
The beginning of the 21st century is characterized by an overwhelming awareness of scientific and technological issues. The field of art that interacts with the practices of science and its technologies is commonly referred to as Art&Science. During the past decades, the hybrid field of art & research has become more or less established, with iconic works, established institutions and documented histories. The interrelation between music, art, natural and computer sciences can be seen in new media art, biotechnological or telecommunication art and other contemporary artistic practices that have an experimental character.
http://www.rhizope.org/
Deadline: 30 April 2013

CALL FOR PAPERS
POSTNATURAL
SLSA CONFERENCE 2013 The 27th Annual Meeting of the Society for Literature, Science, and the Arts
University of Notre Dame Indiana October 3-6 2013
Site Coordinator Laura Dassow Walls, Department of English, University of Notre Dame.
Program Chair Ron Broglio, Department of English, Arizona State University.
SLSA Membership Participants in the 2013 conference must be 2013 members of the Society for Literature, Science, and the Arts.
Paper Proposal Due Date May 1, 2013
http://www.litsci.org/index.html

CALL FOR PARTICIPATION
Case Pyhäjoki - Artistic reflections on nuclear influence Transdisciplinary expedition, production workshop and events
Location: Pyhäjoki, Finland
Time: 31.7. - 12.8.2013
For whom: artists, activists, scientists, thinkers and doers + everything and opinion in between.
'Case Pyhäjoki - Artistic reflections on nuclear influence' is a transdisciplinary artistic expedition, production workshop and presentation events in Pyhäjoki, North Ostrobothnia, Finland 31st of July to 12th of August 2013. The sixth nuclear power plant of Finland is planned to be built at Hanhikivi Cape in Pyhäjoki.
http://bioartsociety.fi/980-2/case-pyhajoki-call-for-participants
Deadline to apply: 5 May 2013

ESSAY PRIZE CALL
TOPIC: NEW MEDIA ART, ELECTRONIC AUDIOVISUAL ART, MULTIMEDIA ART, VIDEO ART, CYBERART, BIOART, DIGITAL TECHNOLOGIES and any creative symbiosis between art, science and technology.
MADATAC, in its aspiration to spread the bibliography in Spanish concerning the practice, study and research of new media narratives and tools of the new audiovisual digital art in all its forms, not forgetting the contributions of the past, calls for a prize of essay eligible for all authors, regardless of their nationality, provided that the manuscript is written in Spanish or English language and fits the theme of the prize, be original, unpublished and has not previously been awarded in any other competition, or corresponds to a deceased author before submitting the work for the award. Collections of articles will not be accepted.
For more info: info@madatac.es
Call closes 2 Sept 2013

OBEL RESEARCH TALK AT LAWRENCE WILSON ART GALLERY
Friday 12 April 2013
Public talk with researchers from the Optical + Biomedical Engineering Laboratory (OBEL) in the Faculty of Engineering, Computing and Mathematics, UWA
1pm at the Lawrence Wilson Art Gallery, UWA
LUMINOUSFLUX explores the ways in which local and international artists harness the magical palette of light. In this talk, researchers from the Faculty of Engineering, Computing and Mathematics will discuss their current research related to the use of light as a medical diagnostic tool.
Imagine a microscope small enough to be placed inside a needle. Then consider the possibilities this creates in examining how our bodies work. Engineers, pathologists, surgeons and radiologists have been working together on a microscope-in-a-needle, which can be used during surgery to tell where the edge of the cancer is to improve the rate of success.
Their goal, of breast tumour margin identification during surgery, to prevent women from needing secondary procedures, is in sight. This talk will reveal this and other cutting-edge technologies developed by the OBEL team.

Plant Energy Biology and School of Plant Biology jointly present:
PROFESSOR CHUCK PRICE (Plant Biology UWA)
"The Metabolic Theory of Ecology: prospects and Challenges for Plant Biology"
Thursday April 18, 2013 4pm
G.33 Lecture Theatre, Bayliss Building UWA
Flyer and full cv available on request to Jennifer.gillett@uwa.edu.au

Real Fiction Lecture Series
April- May 2013 Institute of Design - University of Applied Arts Vienna, Austria
Engineering biology sits at the heart of the next technological revolution: genetics, molecular biology, synthetic biology. We have been manipulating nature for hundreds of years, will it be different? What would the everyday 'microbial' world look like? and who is imagining it? DIY bio-hackers are already attempting to democratise the technology and the debate around its use - can the design imagination also participate? Bring it into the everyday and add to the discussion? In the last series we asked if imagination and imaginative processes 'through Design' can infect reality and be a contributor to substantial processes of change? Perhaps this is where it is needed most?

Lectures:

Thursday 18th April - 6.30pm, Lichthof 2
Shopping & Hacking/DIY-bio (real & fictional)
Koby Barhad & Gunter Seyfried

Thursday 2nd May - 6.30 pm, Lichthof 2
Design Fiction/Citizens and the Public Imagination
Markus Schmidt & Bruce Sterling

Monday 6th May - 6.30pm, Lichthof 2
Ethical Complexities and Dilemmas
Jens Hauser & Revital Cohen

Monday 27th May - 6.30pm, Lichthof 2
Futures, Design meets Science
Anab Jain & Alexandra Daisy Ginsberg

http://studiolabproject.eu/event/real-fiction