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2017: In brief…

London LASER 19: in collaboration with CLOT magazine, an evening on ‘Interspecies Creativity’ with artist Kuai Shen, composer Eduardo R. Miranda and designer Veronica Ranner.

2017: In full…

London LASER 19
Tuesday 21 February 2017
Central Saint Martins

London LASER and CLOT magazine present an evening on ‘Interspecies Creativity’ with artist Kuai Shen, composer Eduardo R. Miranda and designer Veronica Ranner.

Bringing together a group of practitioners engaged in creative practices with nonhuman life forms we explored issues connected with interspecies communication, co-creation and collaboration. Discussion included considerations of working creatively with living matter, the implications of shared authorship, notions of nonhuman subjectivity, and issues of care and control.

CLOT Magazine is an online curatorial platform dedicated to art explorations into science and technology, curated and edited by Meritxell Rosell and Lula Criado. Founded and based in London, CLOT Magazine curates intellectual content, generates debate and creates new frontiers of exploration by researching trends in areas of: biomedia, biodesign, body architectures and cyborgs, bio robotics, artificial intelligence (AI) and virtual reality (VR), sound art, computing art, kinetics, synthetic biology among others.   @ClotMagazine

Eduardo R. Miranda is a composer and Artificial Intelligence (AI) scientist working at the crossroads of biology & music. He studied Music Technology at the University of York and received a PhD on the topic of music with AI from the University of Edinburgh. Currently, he is Professor in Computer Music at Plymouth University where he heads the Interdisciplinary Centre for Computer Music Research, which is pioneering the development of biological and quantum computing technology for music. Here Prof Miranda introduced his research into harnessing the Physarum polycephalum slime mould to build bio-processors and interactive musical bio-computers.    @bio_computer

Kuai Shen is an artist whose ant-mediated installations reflect on the interspecies relationship between insects and humans as a metaphor for a post-human ecology, in which mutualisms between artefacts and organisms take place. He has published his research about ant stridulation in “Biologically-Inspired Computing for the Arts” from the University of Colorado, in the Leonardo MIT Journal for the Siggraph, as well as in the Acoustic Space Journal published in the context of the 5th Renew Media Art Histories conference. His current research focuses on ant mimicry in the post-biologic technology of humans based on emergence, resiliency and imitation.

Veronica Ranner is a designer, artist, and researcher interested in networked cycles, emerging bio-technologies and bio-fabrication, systems design, and new roles for designers. She currently pursues an AHRC funded PhD at the Royal College of Art and holds a Visiting Scientist position with SilkLab at Tufts University in Boston (MA, USA), examining the burgeoning domain of the bio-digital — a converging knowledge space where computational thinking meets biological matter. She holds degrees in Industrial Design from Pforzheim University, a Masters in Design Interactions from the RCA, and has worked on trans-disciplinary projects with a range of science institutions and biomedical companies. She lectures and exhibits internationally and is the founder of Polyphonic Futures, a design-science research platform that cross-connects experts with the public in real-world events and digitally.             @vroniranner