Strict warning: Only variables should be passed by reference in eval() (line 6 of /home/synapse/public_html/modules/php/php.module(80) : eval()'d code).
Artist and CEO of Culture at Work
Paul Greenaway OAM is the Director of Greenaway Art Gallery : Adelaide. An art theorist committed equally to art and education, he is the Founding Chair of the SALA (South Australian Living Artist) Festival, and was the commissioner for ARCO 2002 – Australia.
Exploration of Electromagnetic Landscapes and Cognitive Limits.
Extra-territorialization of cognitive conglomerates (psycho-geographies) trough the emergence of new Technologies of Communication and Information.
I bring artists and scientists together to produce. I do this in my University of Miami ArtScience courses (humanities and science majors) and in home-based salons.
I am a practicing architect currently engaged in a PhD at UNSW looking at Deleuze & Guattari's philosophy with a focus on creativity and the philosophical possibility of radical novelty.
I am primarily a painter, and work in encaustic (pigmented wax). I am actively engaged in finding science collaborators to create new forms of expression.
I resigned from the Public Galleries Association in early September and am currently enjoying a number of roles, including facilitation of a major touring exhibition of the work of George Baldessin.
Elena Cologni has a doctorate form the UNiversity of teh Arts, London, Central Saint Martins College. Her mediatised performances, installations and video manipulation point at the unstable nature of perception and memorisation of reality through time.
Semiotician, mathematician, specialist of Picasso, Duchamp, Stein, Oulipo and the art of memory
Cara-Ann Simpson (b. 1985) is a multidisciplinary artist with a focus on sound, space and the participant. Cara-Ann is concerned with modes of listening/hearing in social situations and how people interact with sound.
I am a founding member of 5 Ton Crane (5TC). We are a diverse group of artists, scientists, geeks and inventors from the San Francisco Bay Area.
I am a scientist and an artist. I am currently working on a science art project that exposes artists to the science lab and scientists to the studio.
Jon McCormack is an Australian-based electronic media artist and researcher in Artificial Life and Evolutionary Music and Art. His research interests include generative evolutionary systems, computational creativity, machine learning, L-systems and developmental models.
Adam Norton’s work investigates the effects of technology on the human condition. He has made work about space travel, virtual warfare and nuclear weapons. He is not only interested in how technology has altered our physical landscape but also how those changes have impacted on human behavior.
Isobel Johnston, Director, Sydney Art Tours
Isobel holds a Master of Fine Art, a Diploma of Museum Studies and a Bachelor of Visual Arts and is a specialist in Australian contemporary art as well as being a Sydney based visual artist and professional art educator.
I compose drawings-paintings-and digital compositions.
I am also a theorist who combines the history of science and philosophy with phenomenology.
Have worked in large scale holography since 1984. Currently producing analogue and digital holograms on the theme of contemporary communication systems associated with personal technologies and the Net; welcome to blogsville.
Senior Lecturer VISUAL ARTS QUT
In my work I apply art to science, using modern techniques. My interests lie in the conscious and unconscious way we deal with our world; the overriding impact of our careless behaviour; the changes that are seen include those on a cellular level.
The chimaera series consisted of various mixed media constructions of variable sizes utilising repetitive components made with a variety of media and readymade objects including scientific lab ware and included;
Oil encaustic linen canvas chalk white board maker genetically modified corn flour as baby powder genetically modified sunflower oil watch glasses glass test tubes thermo plastic film clear acrylic and mild steel push pins cast shadows reflections movement sensor lighting glass etching
The work aimed to position the viewer as part of a new chimaera
artfunding: Besen Foundation supported the exhibition 'Respond Red or Blue' at the Royal Melbourne Hospital.
sciencefunding: In kind support and material support from the Radiology department at the Royal Melbourne Hospital and later at the RMIT Radiology sciences faculty in Bundoora was tremendous. As was the support of technically knowledgable staff in order to create the images, i could not oppporate the technology and required there expertise.
Also the medical illustration unit at the RMH and many other staff.
Through images, text, fingerprints and DNA sequencing (from hair samples of the subjects) a series of abstract layers of identity will be woven together to create the fascia for the identity chamber. The physical chamber, a tent-like construction, made from semi-transparant tensioned latex, can be entered and walked through by viewers, while the visual translations of identity are projected onto the chambers walls. A metaphorical recombination takes place, identity becomes an elastic (en)coded building process.
Los Días y Las Noches de Los Muertos is a ghost work of counter-memories, tracing thresholds of impossibilities beyond the blank gaze of pan-capitalism. A drifting carnival of five micro-stages recombines the newest blue-eyed sons of star wars, top-sight trajectories of power and capital, and the living dead who name themselves Zapatistas.
Geoderma is a 3D video and installation project that developed into a major exhibition first shown as a Festival of Perth event at the Perth Institute of Contemporary Arts, in Western Australia in 1998.
The work took a year and a half to complete and is the collaborative efforts of three artists: Brian McClave, David Carson and George Millward.
Geoderma then toured Australia between 1998 and 2001 with funding from Art on the Move and the Australia Council
StellrScope, a body of work by ACT artist Eleanor Gates-Stuart, celebrates wheat innovation over the last century, from William Farrer’s pioneering work on wheat breeding to present-day research on food futures. Using source material including Farrer’s own notebooks, it explores the links
between art and science, and tells the story of the Canberra region’s connection to Australia’s major food crop.
Eleanor Gates-Stuart, Science Art Fellow at CSIRO, exhibits her intriguing artworks ‘Hot Seeds: the Scithetic Dimensions’ produced whilst in residence at CSIRO.
The body of work explores the scientific innovation of wheat across CSIRO’s Plant Industry, Bioinformatics and its Food Futures Flagship, celebrating the legacy of William Farrer through to present day.
The paraphernalia of a rootless existence, such as sleeping bags and tents, are rolled to form soft-sculptural planters. These incubating seedbeds support the growth of 100 plants native to Western Australia. Each vessel is fitted with a tag identifying the scientific and common name. Another tag references a UWA-related research publication title drawn from any faculty and collectively forming a temporary nursery and library annex that reflects a rapidly changing environment and associated fields of knowledge.
Gilbee’s oeuvre entails a complex exploration of human existence that often borders on the ineffable. The ethereal and somewhat ephemeral nature of her materials complements this sensibility while enhancing an intrinsic poeticism in her work. While this exhibition continues her investigation of ‘interior’ worlds - on both physical and psychological levels – the work shifts towards an exploration of the relationship(s) that exist between consciousness and the creative impulse through emotions such as fear, anguish and desire.
'Shadows are a corset for light. When forms emerge unknown they dance on our field of perception, igniting imaginary landscapes and projections of desire.' Tara Gilbee
'Cold Light' is a series of photographic images that explore the quality of light as manipulated through photography. The artworks are large and invite the viewer to make their own meaning from the shapes and forms that shimmer from the page.
Eleanor Gates-Stuart is one of 5 selected artists to work with the Electric Canvas in showing architectural projections on Canberra’s Parliamentary Triangle. These include: The National Library of Australia, the Museum of Australian Democracy at Old Parliament House, the National Gallery of Australia, the National Portrait Gallery and Questacon – The National Science and Technology Centre.
Eleanor draws on her science art interests and historical artefacts from the NLA.
The Impact by Degrees exhibition presents perspectives by Australian media artists who, through collaborations with scientists, environmentalists and designers as well as an extensive engagement with Australia’s unique
environment, have developed cultural responses to the most urgent for humanity challenge—Climate Change.
Impact by Degrees is the key cultural event within the Embassy of Australia, Washington DC in the lead up to the UN Framework Convention on Climate Change, Conference of the Parties in Copenhagen 2009.
In this year’s edition, we are focusing on different ethical perspectives of Science and Art collaborations, particularly in relation to the Life Sciences. We have thought of 3 distinct moments of reflection to discuss the differences, similarities, cross sections, juxtapositions in artists and scientists’ objectives, sensibilities and background knowledge.
1) Hybrids will present some projects that deal with different subjects, a portrait of life, and human, animal and cellular interactions
2) Reflections will be centred on laboratory experiences
Collaborative project with Shu Lea Cheang, 'Moving Forest'; a 12 hour 5 act sonic and visual performance to be intervened by an expandable citywide operatic manoeuver with public wifi and mobile technology. Derived from Kurosawa's film version of Macbeth (Throne of Blood, 1957).
Linda works with Processing (open source software) to generate flying arrows from mobile phone and web connections and splattered blood stains from input from scrying boards that pick up the invisible ever present electro magnetic fields our appliances and devices produce.