DMC3 07: Creative Engagements in Bio and Nano Tech

DMC3: Session 07: Creative Engagements in Bio and Nano Tech
Ke 09.11. klo 13:00-15.30

Intro to Biological Approaches

Amanda Almon: Artist Reel & Microscopic Views - The Unseen World Animation


Eugene Thacker: What is Biomedia?

“As computer science and molecular biology intermingle, how does our view of the human body change?

The integration of molecular biology and computer science is a very interesting one. When we think about computers or the Internet or digital this and virtual that, we think about immaterial things, which are completely mutable and portable and exist in a strange non-space.

It’s an abstract notion, yet the reality of computers is that they need hardware, cables, and infrastructure.

When we think about biology, we think about the “stuff” of life, material, and things that are physical. It’s a tangible notion, yet there are whole strands of biological thinking that go beyond the physical.

When computing and biology come together, you get all sorts of strange hybrid artifacts, like an online genome database, or a DNA chip, or lab-
grown tissues and organs.

In some instances, it means our notion of the body is becoming more immaterial or virtual. In other instances, it means the opposite: that, in fact, our notion of the biological and materiality is changing, and that biological materiality is being defined as informational.

This means, rather than any kind of body anxiety or posthumanist fantasies of uploading your mind to a computer, there is an insistence that we can control and manipulate biological matter through the lens of informatics.”

How do you define biomedia?

Biomedia is a specific concept that’s meant to describe the informatic reframing of biological components and processes. Packed in that are a couple of ideas.

One is the framing or articulating of the biological, as I just mentioned.
The other is the way that we articulate biology as a technology, through the lens of informatics, information, and information technologies.

This is where we get our common notions now of genetic code or the code script of life. But it’s really through the lens of informatics and information technology that you get this combination of the immaterial and material, or biology and technology.

It’s about the process of identifying the biological, but looking at it through the lens of the informatic.


Eugene Thacker: What is Biomedia?
Configurations - Volume 11, Number 1, Winter 2003, pp. 47-79


Jen Hauser: Looking 'through' Biomedia: Post-anthropocentrism as immediacy without agency

“The current 'molecular turn' as its accompanying 'biologism' has led contemporary artists to effectively construct links to non human 'otherness' while abstracting from previously dominant 'cognitivism'. Biotechnological art that goes beyond metaphors and representation stages the very presence of the manipulated other (animals, plants, plantimals, tissue cultures etc.) in performative displays.

By making themselves into Guinea Pigs for biotechnologial self-experimentation, inserting (their) genes into plants and bacteria, co-culturing cells or setting up trans-species collaborative situations, artists question models of alterity by the means of producing authentic immediacy.”



WATCH: Intro to Arborsculpture

“Arborsculpture is the art and technique of growing and shaping trunks of trees and other woody plants. By grafting, bending and pruning the woody trunks and or branches are grown into shapes either ornamental or useful. Similar to espalier and possibly including some topiary for some projects. The word is a conjunction of the words arbor (Latin for tree) and sculpture..”


Growing Semi-Living Sculptures: The Tissue Culture & Art Project

Oron Catts and Ionat Zurr

“The core of the Tissue Culture & Art (TC&A) Project is the artistic manipulation of living materials using the tools of modern biological research in order to sharpen questions arising from the utilization of these new sets of tools.

Prevailing Western views of a nature-culture dualism can be challenged by putting into practice newly acquired knowledge in biology. Synthesizing biological processes and materials can help us understand that humans and their extended phenotype (the external manifestation of our genes expressed through our culture and technologies) are an integral part of what we call nature, and we therefore have to develop a new set of references in order to understand the implications of our deeds.

Many artists are directing their attention to the consequences of deciphering the genetic code. Our work deals with another level of the biological system—that of the cell and communities of cells: tissue. The interaction with nature that we offer is the manipulation and direction of the growth and three-dimensional formation of tissue on scaffoldings that we provide.

Our work is conceptually closer to cybernetics, machine/nature hybrids and the effect of technologies on complex biological systems, than to molecular biology–based art—although we often use genetically modifed cells and utilize other aspects of molecular biology. We are exploring the formation of a new class of objects/beings, which we refer to as 'semi-living' objects.”

“We are interested in exposing gaps between our cultural perceptions of life and scientic knowledge and its implementation. A growing number of entities challenge our long-held notions of life. Objects that consist of parts of animals, sustained alive outside the body by artificial support, are just one example..

The creation of semi-living sculptures that lack intelligence but are perceived as living is on the other side of this continuum.

Following Wilson’s conception of “biophilia,” i.e. our need of natural things and natural processes for our well-being [11], we are looking at a high-tech version of the natural environment.”

LEONARDO, Vol. 35, No. 4, pp. 365–370, 2002 p.365-370


Bio Art Projects

Extreme body-tech modifications

Stelarc's 1/4 Scale Ear & Ear on Arm projects

“I have always been intrigued about engineering a soft prosthesis using my own skin, as a permanent modification of the body architecture. The assumption being that if the body was altered it might mean adjusting its awareness. Engineering an alternate anatomical architecture, one that also performs telematically. Certainly what becomes important now is not merely the body's identity, but its connectivity- not its mobility or location, but its interface.

In these projects and performances, a prosthesis is not seen as a sign of lack but rather as a symptom of excess. As technology proliferates and microminiaturizes it becomes biocompatible in both scale and substance and is incorporated as a component of the body. These prosthetic attachments and implants are not simply replacements for a part of the body that has been traumatized or has been amputated.

These are prosthetic objects that augment the body's architecture, engineering extended operational systems of bodies and bits of bodies, spatially separated but electronically connected.

Having constructed a Third Hand (actuated by EMG signals) and a Virtual Arm (driven by sensor gloves), there was a desire to engineer an additional ear (that would be speak to the person who came close to it).

The project over the last 12 years has unfolded in several ways.

The EXTRA EAR was first imaged as an ear on the side of the head.
THE 1/4 SCALE EAR involved growing small replicas of my ear using living cells.
And recently, THE EAR ON ARM which began the surgical construction of a full-sized ear on my forearm, one that would transmit the sounds it hears.”

Ear on Arm

1/4 Scale ear
“In collaboration with Oron Catts and Ionat Zurr of Tissue Culture & Art a 1/4 scale replica of my ear has been grown using human cells. A cast of my ear was made from which a scaled down biodegradable polymer scaffold was produced. The scaffold was seeded with living cells and the ear was cultured in a rotating micro-gravity bioreactor which allowed the cells to grow in a 3D structure. The incubator was kept at 37 C. The ear was fed with nutrients every 3-4 days in a sterile hood. 1/4 scale ears have been grown with human donor cells, the cells of the HeLa cell line and mouse cells.”

Ear on Arm [3D model]

Ear Surgery [!!dont watch if you dont like medical surgery videos]


Jens Hauser: Sk-interfaces: Exploding Borders - Creating Membranes in Art, Technology and Society (2008-2009)

“Skin represents a place where art, science, philosophy and social culture intersect. With a growing number of bodily extensions and the continuous discovery of new areas – physical, virtual and psychological – the clear distinctive lines between individuals, countries and even species are beginning to blur.

Advances in bio-medical research together with deconstruction theories in philosophy are reflected in the work of many artists using skin, materially or metaphorically, as an interface, whose work goes beyond the descriptive surface of the skin, to explore issues of xeno- transplants, trans-species and trans-racial exchanges. In recent years, a trend towards the analysis of skin, its functions and meanings, has emerged in the practice of many artists using wet biology, bio- architecture and self experimentation.”

Reviews on We Make Money Not Art Blog by Regine Debatty:


Terike Haapoja's approach to Art, Ecology & Technology

Entropy (2004)

Closed Circuit (2008)
“CLOSED CIRCUIT – OPEN DURATION is an installation exhibition, first exhibited in Gallery Forum Box, Helsinki, fall 2008.

The 7 works of the exhibition create a garden, where organic, digital, electronic, human- and non-human processes overlap. The viewer becomes an inhabitant of the garden, as he or she wonders throught different spaces and sceneries. Mortality, communication, otherness inside us as well as surrounding us become the themes of the exhibition.

The installations investigate the ways by which we can perceive the world beyong our senses, and seek for possibilities for interaction between human and non-human world. The works use methods of environmental research to realize this interaction; different elements, such as the circulation of C02, sound waves or changes in light, merge into a same process with the movement of the viewer.

The exhibition included collaboration with environmental researchers, and professionals from the fields of biology, computer programming and technology. The works were realized together with a technical group.

The exhibition included the works Dialogue, Anatomy of landscape, Waves, Inhale-exhale, Succession and Community”


Adam Zaretsky: Vivoarts

“DIY-Hydroponic HYBRID DNA ISOLATION Skill-Share Lab: How to Extract DNA from Anything Living in the Laboratory or in your Kitchen: A Compare and Contrast Vegetarian Laboratory and Hobbyist Workshop”

WATCH: Vivoarts Workshop with Adam Zaretsky


Hackteria Labs

“Hackteria is a collection of Open Source Biological Art Projects instigated in February 2009 by Andy Gracie, Marc Dusseiller and Yashas Shetty, after collaboration during the Interactivos?09 Garage Science at Medialab Prado in Madrid. The aim of the project is to develop a rich web resource for people interested in or developing projects that involve DIY bioart, open source software and electronic experimentation.

As a community platform hackteria tries to encourage the collaboration of scientists, hackers and artists to combine their experitise, write critical and theoretical reflections, share simple instructions to work with lifescience technologies and cooperate on the organization of workshops, festival and meetings.”

What is Bioelectronix?

“First of all, bioelectronix must be distinguished from bioelectronics; bioelectronics is the emerging science of biomedical technology centred around such devices as ‘lab on a chip’ and implantable neural interfaces. Complex and expensive technologies from the closely guarded and secret world of cutting edge scientific research.

Bioelectronix, on the other hand, is the appropriation and development by artists of certain aspects of these technologies in an (generally) open-source and (generally) do-it-yourself environment. Relatively cheap and simple technologies which can be shared, improved and distributed through an open network of users and enthusiasts.”

Hackteria WebCam Microscope Images from ISEA
"Absolutely gorgeous images taken with a 5$ WebCam built during the Hackteria Workshops at ISEA 2010"


Dusjagr Labs (Marc Dusseiller, CH, 2007-)
“Marc R. Dusseiller is a transdisciplinary scholar, lecturer for micro- and nanotechnology, cultural facilitator and artist. He works in an integral way to combine science, art and education. He performs DIY-workshops in lo-fi electronics, music and robotics, has made various short movies and is currently developing means to perform biological science (Hackteria | Open Source Biological Art) in a DIY fashion in your kitchen or your atelier.”



Vyonne Walker in collaboration with the SymbioticA Research Group: “The Slowest Growing Sculpture”

“As an extension of her previous research into Cyanobacteria and its role in establishing the Earth’s atmosphere, ‘The Slowest Growing Sculpture’ explores the human perception of ‘climate’.
The microbial community of Cyanobacteria ( and other organisms that form the living fossils at Lake Clifton will be manipulated to develop a sculptural identity that questions the contributions that form our understanding of climate while addressing future concerns both at Lake Clifton and globally.
Initially developed in the SymbioticA laboratory, the sculptural structure, incorporating aspects of biomimicry and biotechnology will take decades to evolve, growing at a rate of approximately 1mm a year.”

Regine Debatty:
“The project suggests a post sustainable future and questions the impact of collapsing ecosystems on the idea of generating resources.”

Intro to Nanological Approaches

The Elements Book

WATCH: Nano, the next dimension (Film produced for European Commission, 2002)

Nanoozle Q&A: Don Eigler
[nanotechnology for kids]


“Imagine being able to drop a toothpick on the head of one particular person standing among 100,000 people in a sports stadium. It sounds impossible, yet this degree of precision at the cellular level has been demonstrated by researchers affiliated with The Johns Hopkins University Institute for NanoBioTechnology. Their study was published online in June in Nature Nanotechnology.” (


Nano Arts

Italy Joined the NanoArt Movement in 2006

“In the last few years NanoArt works were exhibited in mixed art form shows all over the world. "Nan°art: seeing the invisible" is an exclusive NanoArt show, following exhibitions like "NANO" in 2003 at Los Angeles County Museum of Art and "Nanomandala" in 2005 in New York and Rome by American artists and NanoArt pioneers Victoria Vesna and James Gimzewski, and "The 1st International Festival of NanoArt", held in Finland this year in May, presenting about 40 works by 15 nanoartists from 4 countries (Australia, Canada, Germany, United States) and covered previously in this column. And not to be forgotten the Web exhibitions of NanoArt pioneers Donald Eigler, Anastasios John Hart, Jack Mason, Tim Fonseca, Robert A. Freitas Jr., Joe Lertola, to name only a few who started producing works in the early 1990s and some of them even earlier.”


Cris Orfescu/NanoArt21: Nanoart 2006-2009

“NanoArt is a new art discipline at the art-science-technology intersections. It features nanolandscapes (molecular and atomic landscapes which are natural structures of matter at molecular and atomic scales) and nanosculptures (structures created by scientists and artists by manipulating matter at molecular and atomic scales using chemical and physical processes). These structures are visualized with powerful research tools like scanning electron microscopes and atomic force microscopes and their scientific images are captured and further processed by using different artistic techniques to convert them into artworks showcased for large audiences.”


Stefan Raimondi, Alessandro Scali and Robin Goode: “Nan°art: Seeing the Invisible” (2007-208, IT)

“Nan°art is an art project that brings together two distant worlds – art and science – it is being produced by Alessandro Scali and Robin Goode in collaboration with the physics department at the Politecnico di Torino.

The objective, through integrating art and nanotechnology, is to realize artworks in micrometres and nanometres (A micrometre being a thousandth of a millimetre and around the size of microrganisms and cells). A nanometre being 0,000001mm’s and smaller than a human cell.”


“Our infinitesimal aesthetic universe is the result of the collision of art with the infinitely small world of nanotechnology. Establish a contact with that parallele, invisible and for most of us unknown world means, for art, to discover surprising and powerful technologies and revolutionary ways of expression that promote the development of new asthetic approaches, alternative points of view, different interpretations of the world.

The collision – or to better say the meeting – of art with nanotechnology brings to the creation of artworks most of the times unaccessible to human eyes, that represents a concrete aesthetic paradox: an invisible visual art.

Nan°art, in other words, to the giantism and the grandeur of contemporary art oppose its resizing. The surplus of images is substituted by their subtraction, and the dictatorship of the eye, under unperceivable and invisible attacks, seems to be in question, seems to vacillate.”

Beyond the Pillars of Hercules, 2006


“This video is about the making of of the first nanoartwork created by Alessandro Scali and Robin Goode, titled Beyond the pillar of Hercules: a series of micrometric footprints litographed onto a silicon plate. The artwork was realized inside Chilab laboratories, Politecnico di Torino. Video by Valdrin Koshi, music by Marcus Wormstorm.”

“The artwork, the first one created by Alessandro Scali & Robin Goode, contains different reading layers and it is representative both of Nanoart possibilities and aims.

The first layer is composed by amazement and astonishment; How It has been possible to create such a small artwork? This is the spontaneous question that any observer do when for the first time see the artwork. We have already answer to this question showing the creation process.
At the first layer we include also what we can seen at a first glance: foot-marks in a black surrounded environments.
In a second level the artwork question on Nanoart itself: what is Nanoart? Where is it? Which are its boundaries?”


Actual Size, 2007
Chip size: 10 x 10 mm
Africa's size: 300 x 280 nano-m
Material: Silicon
Artwork snapshots: Atomic Force Microscope


“In particular the essay "Nan°art: never trust in artists" written by artists Alessandro Scali e Robin Goode underline one the characteristics of Nan°art: the pact between artists and spectators.
If the artworks are not show with the support of a microscope who can assure us that they really exist?

Nanoart removes the direct view of the image, and cancels the acquired superiority of sight.

This is both a paradox and a provocation, as there has been in every revolutionary artistic movement.

The paradox, of course, is that for a visual art we are offered a “nonvision”.

With nanotechnology the work is inscribed on a silicon wafer but it cannot be seen completely, but is only suggested.

And here lies the radical nature of the idea: the spectator is expected to contribute personally to the creation of the work. With the help of a title, to give some help and establish a context, he has to finally use his “interior eye” and reawaken his imagination, hither-to-blocked and handicapped by so many, too many invasive external images.”


Dr. Johnson Gao (aka Kuixiong Gao, US-CN): Self-published 'What is NanoArt?' Poem & illustrations

“I had taken part in the Second International Online NanoArt Competition organized by Mr. Cris Orfescu. There were 37 nanoartists from 13 countries and 4 continents with a total of 121 NanoArt works submitted to that competition. Public online voting is now open through March 31, 2008 at URL: Personally, I had submitted five pieces of my NanoArt images for that competition. Most of them were related to my Cell Biology research projects in the past, including a special image that I call it as the "antique NanoArt". That is an image of pseudo-color electron micrograph at high magnification to show the 7nm lipoprotein molecule in the yolk platelet of frog egg in relation with the membrane bio-genesis at the onset of a new life. Perhaps that was the world first color electro-micrograph. The traditional electro-micrographs are normally expressed in black and white images as like as X-ray films.”

“A friend of mine once asked me -
What is the NanoArt?
To which I could not explain.
Maybe I can make a metaphor for that, then.
The NanoArt is as good as a golden key.
It opens the gate to the other end of universe.
That belongs to the boundless micro-kingdom.
Where scenery is peculiar and unique;
Where everything looks still but is constantly in motion.
It is a down-to-earth realm of Utopia.
There are no noise, no pollution and no war.
Peace, tranquil, calm and beauty are in prevailing.
The gate of micro-kingdom is too tiny for human being.
Our bodies are obviously too large to squeeze in.
Only advanced scientific equipments make things possible,
That leads human souls to soar in that Kingdom freely."


Nanomedicine Art


Paul Thomas: Midas, A nantechnological exploration of touch & Nanoessence

WATCH: Midas project (2007) [full explanation]

“The Midas project investigated 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 of an object. The Midas project is analogous to the fabled Midas, King of Phrygia to whom Dionysus gave the power of turning all that he touched in to gold.”

Midas project 2007 transformation of cell to gold

Paul Thomas: Nanoessence research project

“The Nanoessence installation aims to examine life at a sub cellular level, re-examining space and scale within the human context. A single HaCat skin cell is analysed with an Atomic Force Microscope (AFM) to explore comparisons between, life and death at a nano level. The humanistic discourse concerning life is now being challenged by nanotechnological research that brings into question the concepts of what constitutes living.”


David S. Goodsell: Fact and Fantasy in Nanotech Imagery


Zoe Papadopoulou and Cathrine Kramer: The Cloud Project (2009-, UK)

“Developments in nanotechnology and planetary-scale engineering point to new possibilities for us to conform the global environment to our needs.

These advances combined with a dream to make clouds snow ice cream have inspired a series of experiments that look at ways to alter the composition of clouds to make new and delicious sensory experiences.

Using ice-cream as a catalyst for interesting dialogue, the project’s focus is to welcome people into a mobile space that sits outside institutions, letting new audiences experience and imagine emerging scientific developments and their consequences.”

Nano Week video
[Nanoweek was launched by Tánaiste Mary Coughlan at the Science Gallery, Trinity College, Dublin on the 12th November 2009. Nanoweek will run Nov 30 - Dec 4 across Ireland]


Bio, Nano & Chemical and IT Tech Overlaps

Hackteria: Nano-Schmano, nanoPunk and the hacking of future

“Nano is all around
Nano is future, future will be nano
Nano colour, nano structures, nano machines, nano biology
Intelligent dust and elevators to outer space.

“We are apparently now in a situation where modern technology is changing the way people behave, people talk, people react, people think and people remember.

And you encounter this not only in a theoretical way, but when you meet people, when suddenly people start forgeting things, when suddenly people depend on their gadgets, and other stuff, to remember certain things. This is the beginning, its just an experience. But if you think about it and you think about your own behavior, you suddenly realize that something fundamental is going on.

… It's the question: what is important, what is not important, what is important to know? Is this information important? Can we still decide what is important?
And it starts with this absolutely normal, everyday news.”
(Frank Schirrmacher/Editor FAZ, Germany)

“As the field of nanotechnology is far too broad to be investigated as a whole, we will start with a preliminary project in the field of nano-biotechnology. While nanotechnology deals with all natural and artificial phenomena at the lenghtscale of nanometers, only a few atoms, it is also the meeting point where all modern disciplines merge and have to find a common language.

Although a real world experience of this nanoworld is difficult to achieve and can only be perceived by the use of modern scientific instruments, logical abstraction and modelling, we will try to develop possible tools to find, build, sensorize, evaluate, see and manipulate biological nanostructures, such as motorproteins and protein-coated nanoparticles.

We think that an artistic interpretation of these allows further insight into this world and produce experiencable and metaphorical realities of modern science and technology.”

"Why should artists/designers/outsiders get involved with Synth-Bio or Nanotechnology and Sci-Tech(in General)?

from Yashas Shetty, Bangalore:
There is the obvious reasons that all outsiders bring in unique perspectives to any form of thinking-the artist/hacker has the courage to ask "stupid questions" which may not turn out to be stupid at all.

The other is that the hacker/artist/designer may also come from spaces in which the technology is as important as the different contexts that it exists in cultural/social/political which because a scientist (at least the way in which most of them are trained) may not be aware of or not be interested in”

NanoSmano, NanoKunstFabrik


Cybernetic Bacteria 2.0

A collaboration between; Anna Dumitriu (visual artist), Dr. Simon Park (microbiologist), Dr Blay Whitby (philosopher), Tom Keene (interactive media artist) and Lorenzo Grespan (AI programmer).

“In Cybernetic Bacteria 2.0, the chemical communication of bacteria and the live data streams of our own digital networks (the wireless / bluetooth / RFID activity taking place in and around the gallery) are combined in real time to generate a brand new artificial life form.”


“The artwork combines raw network traffic taking place live around the gallery (including web traffic, mobile technology and Bluetooth), a time-lapse of bacterial communication occurring (involving two strains of genetically modifed (GM) bacteria which will indicate, by changing colour or glowing, the communication taking place) and (generated from those sources) a new Cellular Automata artificial life form.

As a member of the audience approaches the installation a device “sniffs” the ubiquitous computing technology they are carrying, which is continually sending out signals such as the IP addresses of wireless devices, the names of Bluetooth devices and so on.

On a wall a video projection of bacterial communication taking place is displayed. The quorum sensing abilities of bacteria work in a similar way to nodes in the Internet, with a bacterium effect, “I’m here” to surrounding bacteria, like an organic form of “packet data”.

Due to regulations surrounding the use of genetically modified organisism is not possible to easily show the live bacteria communicating in the gallery space as a “Category 2” laboratory would need to be specially built, however this is something that the project group are now looking into, as the experience of watching live bacteria “speaking” is very different to watching a of it.”

As the biological and the digital are becoming merged and new approaches in synthetic biology are blurring the boundaries between artificial and organic life this work seems timely.”


Alexandra Daisy Ginsberg and Sascha Pohflepp: Growth Assembly (2009)

“Though the example product seems a little far-fetched; growth assembly could be quite revolutionary. Worldwide shipping of manufactured things is very inefficient. Why not ship devices and utensils in a single envelope? As seeds.

Our idea of industry will grow to include nature. Genetically altered organisms will be an everyday thing. Introducing diversity and softness to a realm once dominated by heavy manufacturing. Shops will evolve into factory farms. Licenced products are grown where sold. We will no longer ship products around the world. Only seeds will be shipped as they contain all the manufacturing instructions encoded in their dna.”

Growth Assembly - Alexandra Daisy Ginsberg & Sascha Pohflepp

WHAT IF…We could grow products, instead of manufacturing them?

Plasmobot - slime mold used to create biological robot

Professor Adamatzky explains, “Most people's idea of a computer is a piece of hardware with software designed to carry out specific tasks. This mould, or plasmodium, is a naturally occurring substance with its own embedded intelligence. It propagates and searches for sources of nutrients and when it finds such sources it branches out in a series of veins of protoplasm. The plasmodium is capable of solving complex computational tasks, such as the shortest path between points and other logical calculations. Through previous experiments we have already demonstrated the ability of this mould to transport objects. By feeding it oat flakes, it grows tubes which oscillate and make it move in a certain direction carrying objects with it. We can also use light or chemical stimuli to make it grow in a certain direction.
“This new plasmodium robot, called plasmobot, will sense objects, span them in the shortest and best way possible, and transport tiny objects along pre-programmed directions. The robots will have parallel inputs and outputs, a network of sensors and the number crunching power of super computers. The plasmobot will be controlled by spatial gradients of light, electro-magnetic fields and the characteristics of the substrate on which it is placed. It will be a fully controllable and programmable amorphous intelligent robot with an embedded massively parallel computer.”

Artificial Life Models in Hardware
by Andrew Adamatzky and Maciej Komosinski


Blob Motility - A Rheologic Interface


Nano-supermarket (Eindhoven, NL, 2010)

“To create a broader understanding about the future of production Next Nature calls upon designers, technologists and artists to submit their speculative nanotech products for the NANO Supermarket.”

Unruly Ecologies: Biodiversity and Art

A symposium exploring the possibilities and difficulties of the diversity of life through critical investigations in art, ecology and action, November 26 to 28 2010.

“The ecology of biodiversity is based upon an uncertain definition, incomplete statistics and the need to act in a world without balance. While multiple flora and fauna databases have being established and are being coordinated, there is an urgent need to engage even more proactively with complex ecosystems and human responses. Artists, scientists, humanities scholars and conservationists will come together to talk of the ‘matters of concern’ around the potentials and futures of biodiversity.”

Biodiversity - Vancouver Film School


Other References

UCLA ArtSci Lab (Los Angeles, US)

Nano+Bio+Art (Social ArtSci Networked Discourse, US)

Centre for Nanotechnology in Society, Arizona State Univeristy (US)

BioNano Inc. Blog

Next Nature

CRANN Trinity College Dublin: Education & Outreach: Nanoweek

Stefano Raimondi: Nano Arte (IT)

Victoria Vesna's Projects (US)

Paul Thomas: Visible Space (Nano Art Tech Projects)

Symbiotica & Tissue Culture & Art Project (Perth, AU) |

Ellen Levy: Defining Life: Artists Challenge Conventional Classifications

Biotopia (Exhibition, Utzon Centre, Aalborg, DK)

Leonardo Electronic Almanac: Call for articles on Nanotechnology and Nanoscale Science and Art

Leonardo: Art and Genetics Bibliography compiled by George Gessert, November 1996, Updated January 2005.

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