ABSTRACT The author explores the use of tridimensional filamentous fungi patterns to produce biopaintings. The painting process involves incorporation of food dyes into a fungi growth medium. Then, after some biochemical processes, the fungal forms are dehydrated and immobilized in polyester resin. Changes in colors and texture occur, resulting in lively images.

ABSTRACT A dual exploration of scales both massive and minuscule has allowed the author to create artworks and experiments that combine cultures of microscopic organisms and data from space probes and planetary landers. Meanwhile, a gradual increase in the author’s laboratory practice has led to a familiarity with in vitro processes and a corresponding theoretical examination of their significance and place in the cultural milieu. Central to these developments in the author’s practice has been the emergence of notions and understandings of simulation theory that unify both nature-technology relationships and ongoing work with organic and living materials. The author describes his artistic experiments with hybrid ecosystems, robotics, artificial intelligence, space exploration and astrobiology and the threads and themes that have persisted throughout them.

One common criticism of algorithmic art is its slavish devotion to technical virtuosity at the expense of artistic intent and content. To address this problem, the author uses an algorithmic method known as “evolving expressions,” which both challenges the technical ability of the artist and also paves the way to “art by choice”—an art that re-creates what lies in the imagination by visualizing the creatures that live there, the creatures of our dreams.

An artist and a biologist have collaborated on the sonification of protein data to produce the audio compact disc Life Music. Here they describe the process by which this collaboration merges scientific knowledge and artistic expression to produce soundscapes from the basic building blocks of life. The soundscapes may be encountered as aesthetic experiences, as scientific inquiries or as both. The authors describe the rationale both for the artistic use of science and for the scientific use of art from the separate viewpoints of artist and scientist.