ABSTRACT The installation Mirror Brain was developed by artist Elisabeth Weissensteiner and neurobiologist Dorothea Brückner at the University of Bremen, Germany, where it was launched. The installation, a contemporary work of hybrid art, establishes a philosophical play with viewers-turned-actors rather than an interpretation of neuroscience. Thus it provides a metaphor—a mirro—for the role of neurobiology in science and in art. Based on the project, this paper elaborates on how artistic and scientific depiction differ from each other.

ABSTRACT The artist has derived deep personal meaning from the vast and intricate world revealed by science. Beyond unearthing facts and inspiring alluring images, this intricate world contributes to an overall context for one's life. She also acknowledges its ethic of concern for the integrity of research results.

ABSTRACT The Midas project investigates the trans-mediational space between skin and gold. Research for the project was conducted through the analysis of data recorded with an Atomic Force Microscope (AFM). The AFM, in its force spectroscopy mode, gathers data by picking up the surface vibrations as the cantilever touches the cell. The Midas project culminated in an installation that included data projection and audio work utilizing subsonic speakers to make the data from the atomic vibrations audible and palpable.

ABSTRACT The author, trained in art and landscape architecture, utilizes observation of nature and culture as a central focus in his art. The work involves research, scientific collaboration and examination, documentation, analysis and synthesis using art, science and technology for environmental advocacy. The focus for these works has been on the coastal landscape of New England, the imprint of humans on land and sea, and the impact of climate change on the marine landscape and fisheries of New England.

ABSTRACT This article describes the characteristics of three of the author's movement-based interactive installation projects: Shifting Ground, trajets and Raumspielpuzzle , completed between 1998 and 2003, and the kinesfield , a term developed by the author in the course of her doctoral research in interactive and choreographic art. The concept of the kinesfield is employed to describe the relational dynamic of movement interactions that traverse the body and material forms in unbounded space.

ABSTRACT The author considers ways in which her interactive artworks “fracture” narratives relating to femininity and critique web-design conventions that often encode these narratives. In the process, she discusses how interactive media and electronic culture provide unique opportunities for exploring gender.

ABSTRACT This paper serves as a narrative companion to likn , an artware application about the nature of knowledge, ideas and language. According to the advocates and engineers of the “knowledge representation” project known as the Semantic Web, electronic ontologies are “a rationalization of actual data-sharing practice”; but where do artists and intellectuals fit into this data-oriented model of discourse? likn critiques the Semantic Web from a postmodern perspective. This account describes how postmodern theory was scrutinized, interpreted and ultimately expressed as “features” in likn .

ABSTRACT How will global warming affect art? The author proposes that the effects will be continuous with other human-caused threats to civilization such as nuclear weapons. Such threats have already contributed to devaluation of the human figure. In many different times and places, the primary focus of art, with the notable exception of Western art, has been on nonhuman imagery. Global warming will give this new significance. Questions of permanence and impermanence in art are also likely to become more relevant.

ABSTRACT The author's informal research in the 1970s explored iterative and generative systems using motion-picture film. His approach was practice-based and occurred in the context of artists studying the structure and materiality of the film experience. Based on historical and contemporary notes he accumulated about his film Red+Green+Blue , the author evaluates the generative art that emerged using this analogue-based medium in the light of recent discussion of digital and binary-based interactive installations.

Sonya Rapoport, a multimedia artist, traces five decades of her career, coalescing art, science and technology. She provides a personal history in a scientific context that leads her from painting and abstract expressionism to computer-assisted interactive installations and webworks. The artist uses the metaphor of the golem, her self-described avatar, as a means to question and explain the autobiographical evolution of her iconography, choice of media and style. Her journey includes the influences on her interdisciplinary art expression in which anthropology, chemistry, botany, religion and topics of gender and transculture are intermittently treated with parody, humor and mysticism.

People have studied the sky from time immemorial: the recurrence of celestial events has been demarcated by signs in the landscape, from simple megaliths to elaborate monuments at architectural scale. The author introduces her project Sunset Farm , establishes links with historical precedents and explores the potential of an art expression where the celebration of cosmological events coincides with sustainable design and production of alternative energy. Furthermore, this art form could promote different layers of awareness in the viewer's perception of land and sky.

The author's ecologically informed art praxis can be traced back to her experiences while deep-diving off Tasmania's eastern coast. These provided a plethora of aesthetic sensations, but also images of the appalling degradation wrought upon the marine environment by humans. Her art focuses upon this juxtaposition between natural harmony and ecological dysfunction. The artist/author outlines her views on artistic communication generally and, specifically, on the role of art as ecological communication and discusses the significance of presenting her multimedia and sculptural installations in “general” public contexts. She discusses three of her artworks and possible future projects.

The author presents the basics of his painting style and the development of its underlying geometry, which he calls GridField Geometry.

Throughout the centuries there have been numerous attempts to correlate elements within the fields of music and visual art. The author compares the 12- tone musical scale to the 12- hued subtractive pigment color wheel commonly used by artists and applies the principles of consonance and dissonance in musical intervals to their counterparts in color “intervals.” The main function of this paper is to put forth a paradigm that can be used by artists as a point of departure for their own explorations into the use of color as well as to create a possible method of analyzing works of art to understand why certain color combinations may work well together.

In these experimental notes, the artist reflects on his Net art trilogy, composed of GRAMMATRON, PHON:E:ME and his most recent art project, FILMTEXT, a digital narrative for cross-media platforms. Investigating issues such as digital screenwriting, Net art, digital “thoughtography” and an emergent artificial intelligentsia, the artist theorizes an expanded concept of writing to better explain his project as an evolving, practice-based research initiative, focused primarily on the interface of art, technology and storytelling.

Decon is short for decontamination (e.g. stripdown and washdown in response to anthrax scares, etc.), but the term “decon” is also a short form for “deconstruction” (literary criticism asserting multiple conflicting interpretations of philosophical, political or social implications rather than an author's intention). The author describes an anthrax ready mailroom exhibit that included mass casualty decontamination showers, which he built in the summer of 2001, based on a patent he filed in April 2000, to deconstruct the coming “war on terrorism” and the suspension of civil liberties and personal privacy that might follow in the wake of bioterror attacks.

Until recently, polarization microscopy has been little developed as an art tool. It holds, however, an enormous aesthetic potential. The author first reviews the theoretical and technical background of polarization microscopy and then discusses how selected microscopic structures imaged via polarization microscopy can be represented according to the artist's individual aesthetic choices, the most important of which is color design by interference. The conscious perception of the pictures by the observer is discussed on the basis of our present knowledge of cognitive neurosciences. Polarization microscopy leads to a crossing of the boundaries between nature and the forms of non-representational painting.

The author describes his transgenic artwork GFP Bunny and discusses the theoretical and practical implications of creating a new mammal in the context of art. Weaving together insights from philosophy, molecular biology, natural history, cognitive ethology and art, the author places primary emphasis on the welfare of the transgenic rabbit he has created. The author rejects biological determinism and states his goals of developing a dialogical relationship with the bunny based on love and care.

The author presents “Existential Technology” as a new category of in(ter)ventions and as a new theoretical framework for understanding privacy and identity. His thesis is twofold: (1) The unprotected individual has lost ground to invasive surveillance technologies and complex global organizations that undermine the humanistic property of the individual; (2) A way for the individual to be free and collegially assertive in such a world is to be “bound to freedom” by an articulably external force. To that end, the author explores empowerment via self-demotion. He has founded a federally incorporated company and appointed himself to a low enough position to be bound to freedom within that company. His performances and in(ter)ventions over the last 30 years have led him to an understanding of such concepts as individual self-corporatization and submissivity reciprocity for the creation of a balance of bureaucracy.

In the 1960s the author sought to rethink the basic concepts of sculpture-space, matter, gravity and light-by studying the theories of relativity and quantum physics, the connection of space to time and matter to energy, and the relationship of all these to gravity. Subsequently, trying to understand the fundamental forms in nature, she discovered a continuity underlying them: Spirals are not only forms of growth or turbulence, but are also the link between spheres (forms of balance and minimum volume/energy) and waves (forms of energy/motion). Flow phenomena shaped the new style of her landscape sculptures, which are expressions of fluid dynamics and other nonlinear processes.