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London LASER programme – 18 October 2017

London LASER 23

Wednesday 18 October 2017

6.30 – 9.00pm (registration from 6.15pm)

C303, Central Saint Martins, University of the Arts London, 1 Granary Square, London
N1C 4AA

 

LASER: Talks on the intersection of art, science and technology

The event is free but please book to reserve a place: https://londonlaser23.eventbrite.co.uk

 

London LASER presents an evening of talks on art and science interactions: with Charissa Terranova on polymathy; Andrew Carnie and Alexa Wright on ‘Hybrid Bodies’; and Gemma Anderson on ‘Representing Biology as Process’.

 

In the talk “Wide Awake! An Exploration of Twentieth-Century Polymathy in British Art-Science-Design,” writer and educator Charissa N. Terranova studies the genealogy of the term “polymathy.” She hews closely to its Indo-European root –mendh, meaning “to learn,” and related words such as the Lithuanian mandras, or “wide-awake,” and the German munter, or “awake, lively” to unite geneticist Conrad Waddington, embryologist Joseph Needham, entrepreneur-cum-designer Jack Pritchard, architect Walter Gropius, and painter and set-designer Yolanda Sonnabend. Associate Professor of Aesthetic Studies at the University of Texas at Dallas, Terranova’s most recent book is Art as Organism: Biology and the Evolution of the Digital Image (2016).

 

Andrew Carnie and Alexa Wright will introduce ‘Hybrid Bodies’, a long-term, multidisciplinary research project that brings together the arts, ethics, medicine and social sciences to investigate the complexities of heart transplantation (an exhibition of work created as part of this project is on show at London Gallery West from 16 October-16 November, 2017). Andrew Carnie is an artist and academic. His artistic practice involves interaction with neurologists and other medical scientists. The work is often time-based, involving slide projection using dissolve systems or video projected onto complex screen configurations. Alexa Wright is an artist and Reader in Visual Culture at University of Westminster. Alexa uses a wide range of media in her work, including photography, video, sound, interactive installation, performance, objects and books. Many of her projects involve collaborations with medical scientists and/or people with medical conditions or disabilities.

 

Artist and researcher Gemma Anderson will introduce her work in the context of the current AHRC project ‘Representing Biology as Process’ she is working on with Biologist James Wakefield and Philosopher John Dupré at the University of Exeter. Anderson has collaborated on a number of innovative art/science projects including ‘Hidden Geometries’ with the Mathematics Department at Imperial College London; ‘Isomorphology’ and the ‘Cornwall Morphology and Drawing Centre’ with the Natural History Museum, London; and ‘Portraits: Patients and Psychiatrists’ (Wellcome Trust Arts Award 2009) in collaboration with psychiatrists and patients at Bethlem Royal Hospital. Her work has been exhibited at the Victoria and Albert Museum, the Freud Museum and the Wellcome Collection, London. Her new book Drawing as a Way of Knowing in Art and Science (Intellect Press) will be launched in October 2017.

Image: A Tender Heart, Andrew Carnie, 2014

London LASER on Biodesign, 27 June, University of Westminster

London LASER 22

Tuesday 27 June 2017

6.30 – 9.00pm (registration from 6pm)

University of Westminster,

309 Regent Street, London W1B 2UW

 

LASER: Talks on the intersection of art, science and technology

The event is free but please book at: londonlaser22.eventbrite.co.uk

 

London LASER explores the relationship between biology and design. Professor and designer Carole Collet introduces key themes and concerns within current biodesign practice, followed by presentations from students and lecturers from three London arts universities who have participated in the Biodesign Challenge, from Central Saint Martins, University of Westminster and the Royal College of Art.

 

Carole Collet is a Professor and Director of the Design & Living Systems Lab at Central Saint Martins. Her research focuses on exploring the intersection of biology and design to develop speculative and disruptive sustainable design proposals. Collet operates within a long-term framework and her research targets the year 2050 and beyond. By anticipating future key socio-economic factors and technological timelines, she aims at impacting today’s design directions so as to enable a more resilient and sustainable future. Collet’s ambition is to elevate the status of design to become a powerful tool that contributes to developing innovative paths to achieve the ‘one planet lifestyle’.

Biodesign Challenge offers art and design students the opportunity to envision future applications of biotechnology in a competition highlighting innovation and interdisciplinary exploration. 24 international colleges have worked with biologists and designers to inspire and support creative responses to pertinent themes affecting our futures. In June 2017 selected projects are invited to New York City to present their designs to members of the academic, industrial, and design communities at the Biodesign Summit. http://biodesignchallenge.org/

Teams of students from MA Material Futures and MA Art and Science at Central Saint Martins have collaborated on projects exploring Biodesign and the Anthropocene. As evidence of the impact of human activities on geological forces increases, there is now a growing argument that we need to acknowledge the beginning of a new epoch. Climate change, deep pollution, ocean acidification, the sixth mass extinction of species are all issues resulting from our activities, having a profound impact on our future lives. Students explored how the intersection of design and biology could lead to new models, services or experiences that could help reduce our impact on the planet.

University of Westminster worked with multi-disciplinary undergraduate students enrolled on a cross-university elective Art/Science Collaboration module. This year the module team was excited to join the Biodesign Challenge as it offered students an amazing opportunity to tackle new challenges. Experimental projects include the design of underwear that changes colour in response to STDs and a new 3D printing material produced from hair and vegetable waste.

The Royal College of Art took food as a central focus, engaging students from across design, fashion, information experience, architecture and visual communication to work with scientists from Imperial College. Food was selected for its blurred borders between disciplines and fields, with food supply chains combining science, technology and culture. Participants interacted with the biological, physical and computer sciences to help understand the practicalities and innovations of the food supply chain, whilst contextualising cultural and economic factors. Students were encouraged to conceive of methods of collaboration between scientific, anthropological and design disciplines to produce a sustainable food future that supports the whole ecosystem we live in.

London LASER 16 May – programme

London LASER 21

Tuesday 16 May 2017

6.30 – 9.00pm (registration from 6pm)

C202, Central Saint Martins, University of the Arts London, 1 Granary Square,
Kings Cross, London
N1C 4AA

 

 

LASER: Talks on the intersection of art, science and technology

The event is free but please book to reserve a place: https://londonlaser21.eventbrite.co.uk

 

London LASER presents an evening of talks on art and science interactions: with Astrid Alben on poetry and science; Annie Cattrell and Marius Kwint on transformation; and Mellissa Fisher and Mark Clements on negotiated practice.

 

Artist Annie Cattrell and art historian and curator Marius Kwint will discuss and reflect upon their current exhibition (until 20th May, symposium 12th) and Annie’s forthcoming public artwork, both entitled Transformation, for the new Science Centre at Anglia Ruskin University. As the title suggests, the subject is metamorphosis, from ancient bodies to modern materials. Annie Cattrell teaches at the Royal College of Art and was previously Reader in Fine Art at De Montfort University. She has completed several important public art commissions, including the award-winning New Biochemistry Building at the University of Oxford and at Oxford Brookes University, and is currently lead artist at the New Museums Site at the University of Cambridge. Marius Kwint is Reader in Visual Culture at the University of Portsmouth. His curatorial credits with Annie as a contributing artist include Einfach Komplex on branching forms in science and visual culture and the highly popular Brains at Wellcome Collection and MSI Manchester. In 2015 he was co-curator of a critically acclaimed Venice Biennale event, Frontiers Reimagined.

 

Astrid Alben is a poet published by Arc Publications. Her poems and essays are widely published, including in the Times Literary Supplement, Best of British Poetry Anthology and Granta. Alben is also the Artistic Director of PARS, inviting artists and scientists to share their thoughts and research around particular topics in a publication series and at location specific events mixing art, theatre and scientific experiment. She is a Rijksakademie Fellow and a Wellcome Trust Fellow and recently appeared on BBC Radio 4 to talk about her fascination with scientific methodologies and how this impacts her poetry. Astrid Alben will read from her poems and explore how science has influenced their construction. @astridalben

 

Artist Mellissa Fisher has collaborated extensively with Mark Clements, an established microbiologist and Professor in Science Education at the University of Lincoln, for five years. Together they have created a series of ‘living sculptures’, revealing the invisible microflora of the human skin. They have contributed to Invisible You, a Wellcome Trust funded human microbiome exhibition at the Eden Project in Cornwall and more recently they were commissioned by a production company to create a life size human bacterial sculpture for a BBC documentary on antimicrobial resistance to be broadcast in May 2017.  Mellissa Fisher and Mark Clements will talk about ‘negotiated practice’, exploring the relationships between artist, scientist, and the external agencies commissioning their work.

 

London LASER 19 programme announced

London LASER 19

Tuesday 21 February 2017

6.30 – 9.00pm (registration from 6pm)

C202, Central Saint Martins, University of the Arts London, 1 Granary Square,
Kings Cross, London
N1C 4AA

 

LASER: Talks on the intersection of art, science and technology

The event is free but please book to reserve a place: londonlaser19.eventbrite.co.uk

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 will explore issues connected with interspecies communication, co-creation and collaboration. Discussion will include considerations of working creatively with living matter, the implications of shared authorship, notions of nonhuman subjectivity, and issues of care and control.

 

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. kuaishen.tv

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 will introduce his research into harnessing the Physarum polycephalum slime mould to build bio-processors and interactive musical bio-computers. neuromusic.soc.plymouth.ac.uk    @bio_computer

Veronica Ranner is a designer, artist and researcher exploring the burgeoning domain of the bio­–digital – a converging knowledge space where digitality and computational thinking meet biological matter. She dissects and creates tangible and immaterial manifestations of such collisions, examining the polyphonic potential of alternative technological futures. Veronica holds a degree in Industrial Design from Pforzheim University, a Masters in Design Interactions (RCA), and has worked cross­ disciplinarily with a variety of science institutions and biomedical companies. Her current doctoral work explores paradigm shifts in reality perception by coupling speculative (bio)material strategies and information experience through design research. veronicaranner.com    @vroniranner

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. clotmag.com   @ClotMagazine

 

Recent LASER talks uploaded, with Simeon Nelson and Simon Walker-Samuel, Rob la Frenais, and Alex May

To view all talks from 2016 London LASER programme, please visit Archive 2016

London LASER 18
Tuesday 15 November 2016
University of Westminster

London LASER – 15 November – hosted Simeon Nelson and Simon Walker-Samuel on their collaborative project, Anarchy in the Organism; Rob la Frenais on Space Without Rockets and Exoplanet Lot; and Alex May on digital creation and preservation.

Simeon Nelson and Simon Walker-Samuel presented Anarchy in the Organism, a Wellcome funded project with University College Hospital that explored cancer as a complex system, addressing questions relating to the impact of an art-science collaboration on participants and what type of new knowledge can be created. Simon and Simeon talked about how their research practices have been affected by the collaboration and discussed radical empiricism, William James’s method of enquiry that encompasses the arts and sciences and circumvents oppositional notions of objectivity and subjectivity. Simeon Nelson is Professor of Sculpture at University of Hertfordshire. Simon Walker-Samuel is Group Leader for The Cancer Imaging Group within the UCL Centre for Advanced Biomedical Imaging. simeon-nelson.com @uhca_research simonwalkersamuel.com  @swalkersamuel

Rob La Frenais is an independent curator and writer. As well as curating exhibitions internationally he is a regular writer for Art Monthly. Until 2014 he was curator of the Art Catalyst, the art-science organisation and has been a curator since 1987. He presented a double-headed talk, ‘Aerocene- Space Without Rockets and Exoplanet Lot’, about a project for sustainable space travel with artist Tomas Saraceno and about a site-specific event in SW France in which the Lot valley was re-imagined as a near-earth planet. These papers were first presented at the International Astronautical Congress in Guadalajara, Mexico this September, alongside Elon Musk’s plans for colonising Mars in 2026, but perhaps received less media attention… roblafrenais.info   @eminencegris

Alex May is a British artist using digital technology to create works that encourage embodiment, experimentation, and reflection on how this human made domain affects perceptions of ourselves, each other, society, and nature. He creates his art using video projection mapping, digital interactivity, generative algorithms, non-linear time, and life-size humanoid robots; all powered by bespoke software tools that he develops as part of his art practice. Alex presented a selection of his key artworks, an overview of the creative software he has made and released, and outlined his proactive approach towards long-term preservation of digital art. alexmayarts.co.uk  @bigfug

'lived dialectics: movement and rest', Elena Cologni site responsive performance score, courtesy the artist and Q21, MuseumsQuartier Vienna.

London LASER 17 – booking now open

London LASER 17

Tuesday 18 October 2016

6.30 – 9.00pm (registration from 6pm)

C303, Central Saint Martins, University of the Arts London, 1 Granary Square,
Kings Cross, London
N1C 4AA

 

LASER: Talks on the intersection of art, science and technology

The event is free but please book to reserve a place: londonlaser17.eventbrite.co.uk

 

London LASER 17 hosts Richard Bright on Visualising Thought and Elena Cologni on the Indisciplined.

 

Richard Bright is an artist and writer. After studying Fine Art and Physics he went on to become the founder and director of The Interalia Centre in 1990, an organisation that provides an international forum for the exchange of ideas between the arts and the sciences. Its aims are based on the belief that far from being mutually exclusive activities, art and science represent different yet complimentary ways of looking at and understanding the world. He is also the editor of the online magazine Interalia Magazine, launched in 2014, which explores the interactions between art, science and consciousness. Drawing on the disciplines of Art, Buddhism and Neuroscience, he will explore questions relating to ‘how thought can be visualized’.

www.interaliamag.org

@InteraliaCentre

 

Elena Cologni is an artist working with live, installation and performance art practices. She has a PhD in Fine Art from University of the Arts London, Central Saint Martins, where she was also Post-Doctorate Fellow (Arts and Humanities Research Council 2004/06), a Research Fellowship at York Saint John’s University (2007/09), and is now associated to the Commonwealth Intercultural Arts Network (University of Cambridge) (2013/), and Lecturer at Lincoln University. Her presentation will give an overview of the in(ter)disciplinary umbrella project rockfluid created in collaboration with the Faculty of Experimental Psychology, Cambridge University. She will focus on the topic of ‘disruption’ both in processes of memorisation and in the function of participatory approaches, drawing on recent projects exploring social dynamics among participants. Her active account will include a series of practical and physical exercises to experiment with (and subvert) underpinning psychological, sociological and cognitive aspects.

www.elenacologni.com

@elenacologni

 

Booking open for LondonLASER – 17 May at Central Saint Martins

London LASER 15

Tuesday 17 May 2016

6.30 – 9.00pm (registration from 6pm)

C202, Central Saint Martins, University of the Arts London, 1 Granary Square,
 Kings Cross, London
N1C 4AA

 

The event is free but please book to reserve a place: londonlaser15.eventbrite.co.uk

 

London LASER 15 hosts Brett Wilson on embodied realism; Meritxell Rosell and Lula Criado on art and science trends covered in CLOT Magazine; and Louise Beer and Melanie King on astronomical explorations.

Brett Wilson is a retired scientist and a founder member of the research group Project Dialogue, bringing together artists and scientists to explore commonalities across research in the arts and sciences. Until recently he was the “scientist in residence” in the faculty of art and design at the University of the West of England and is co-editor of ‘Art, Science and Cultural Understanding’. Brett will be exploring how, in a postmodern world, the original enlightenment sensibilities separating art and science have come under scrutiny with the emergence of a vigorous ArtScience movement. Lakoff and Johnson’s recent work on embodied realism, linking our powers of metaphor-infused thought and imagination to our sensorimotor faculties and experiences, effectively avoids the restrictions of a mind-body dichotomy and can be used to create a new aesthetic framework for ArtScience. www.projectdialogue.org.uk

CLOT Magazine is an online curatorial platform dedicated to art and science explorations, 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: bio design, bio art, human art, sound art, computing art, bio robotics, kinetics, synthetic biology, molecular gastronomy, artech and speculative design. They will talk about some current trends and compelling conversations across the Bio.Art.Tech spectrum; from artists, innovators and influencers to thinkers, writers, curators and scientists. Meritxell Rosell holds a PhD in Biomedicine and Biochemistry, BSc in Biology, MSc in Molecular Biology and Postgraduate in Philosophy. Lula Criado holds a BSc in Pharmacy, BSc in Biochemistry, MSc in Molecular Biology and Genetics and MA in Coolhunting and Trends. www.clotmag.com

@ClotMagazine      @lula_clotmag      @dancingmoog

Louise Beer and Melanie King graduated from the MA Art & Science degree at Central Saint Martins in 2013 and have since collaborated on a number of projects. They are directors of Lumen Studios which, co-founded in 2014, has produced a number of exhibitions, film screenings and light installations in London churches. These events focus on themes of astronomy and light and intend to raise dialogue about how humanity understands existence. Lumen Studios also run an annual residency in Atina, Italy and have secured a gallery and events space in the crypt of St John on Bethnal Green. They are also co-founders of Aether, a curatorial project focused on the philosophical aspects of astronomy and space exploration; recently exhibited at the Jarvis Dooney Galerie in Berlin, and at Imperial College London 29 April – 23 May 2016. Louise and Melanie will talk about their artistic practices and curatorial projects. www.lumenstudios.org   a-e-t-h-e-r.com

www.melaniek.co.uk   @MelanieKKing    www.louisebeer.com     @ SpaceWolf__

 

Programme announced for next London LASER

London LASER 14

Tuesday 15 March 2016

6.30 – 9.00pm (registration/drinks from 6pm)

University of Westminster, Fyvie Hall,

309 Regent Street, London W1B 2UW

 

London LASER presents an evening that is All About Imaging, with Lindsay MacDonald on the rainbow and the spectrum, Jeff Ferguson on human/computer interaction and Emilia Moisio on scientific imagery and perceptions of reality. Chaired by John R A Smith.

The event is free but please book: http://londonlaser14.eventbrite.co.uk

 

The rainbow is one of the most impressive of natural phenomena,
and since ancient times has been associated with supernatural
qualities. It has been adopted widely in symbolism for perfection
and completeness. Referring to God’s covenant with Noah after
the Flood, artists have included the rainbow in scenes to indicate
divine presence. But why is it so difficult to reproduce a rainbow
in paint or in print or on a display? Why can its brilliance not be
achieved in colour media? The answer lies in the physics of the
spectrum. Newton truly opened our eyes. The Rainbow and the Spectrum is presented by Dr Lindsay MacDonald, Research Fellow
with 3DIMPact Research Centre, Faculty of Engineering, UCL, and
Visiting Professor of Image Science at the University of Westminster.

 

Emilia Moisio is a freelance photographer and a photographic artist, whose research-based art practice is guided by an interest in exploring and questioning the role and functions of images in society and our lives, and consists of distinct, concept-based photographic projects strongly focused and founded on using images as a tool to examine, analyse, develop, and articulate structured frameworks of thought. Her research focuses on the conventions and public uses of utilitarian scientific imagery and their impact on our perceptions of reality. She will discuss the historical connection between photography and science, how the early assumptions of photographic mechanical fidelity impact the perceived reliability of scientific imagery, how strongly the representational conventions of scientific imaging practices impact our mental images of reality, and how this could be address both by artists and scientists.

 

Jeff Ferguson is a Lecturer in Mobile and Pervasive Computing at the Faculty of Science and Technology at the University of Westminster, Jeff has enjoyed a varied career spanning early multimedia with the Philips CD interactive group, video games animation and motion capture with Sony/Psygnosis, and public virtual and augmented reality interactive software with pioneers Inition Ltd. He recently completed a Masters in creative computing at Goldsmiths and is concentrating at Westminster on perceptual interfaces, particularly with the web as an immersive platform. He will be taking a light-hearted overview of our interactions with computers and how they are changing, with an emphasis on play. By looking at past and present work, including that with the Serious Games at Westminster research group, perceptual and physical interfaces will be explored.

Programme for London LASER 13 announced

London LASER 13

Tuesday 16 February 2016

6.30 – 9.00pm (registration from 6.00pm)

C303, Central Saint Martins, University of the Arts London, 1 Granary Square,
 Kings Cross, London
 N1C 4AA

 

The event is free but please book: londonlaser13.eventbrite.co.uk

 

London LASER hosts Astronauts of Inner Space, bringing together four speakers interested in diverse interfaces between science and the psychic. Bronaċ Ferran, Luciana Haill, David Luke and Wai H. Tsang tackle a series of topics relating to art, neuroscience and the body including the art and science of psychedelic perception, neuromorphic computing, fractal brains, entoptic visuals and Dreamachines.

 

About the Speakers:

Bronaċ Ferran is a writer and curator specializing in the intersection between disciplines and the art of the 1960s. A former Director of Interdisciplinary Arts at Arts Council England and Senior Tutor at RCA, she is author of Neuromorphobia (hypehypehyper) an essay being published in Spring 2016 by Archives Books Berlin as part of the Psychopathologies of Cognitive Capitalism series edited by Warren Neidich.  She recently curated three exhibitions of concrete poetry from the ‘sixties and is co-editing a forthcoming issue of the Interdisciplinary Science Reviews journal, with Elizabeth Fisher, on The Experimental Generation: Interdisciplinary Trends in Post-War British Culture.

Luciana Haill is a contemporary Surrealist working with neurotechnologies; her recent practice has focused on artist Brion Gysin’s Dreamachine, Entoptic visuals and the phenomena ‘Flicker’. She has developed this into a series of performances and installations involving the real-time monitoring and sonification of the participants own brainwaves using techniques from hypnosis and meditation. She is considered a pioneering artist in her field. The ‘Phrontesterion’ (EEG & Dreamchine) referencing the notion of ‘The Visionary’ has been shown internationally including The Royal Academy, The Royal Institution, The Waag Society in Amsterdam and KIBLA in Slovenia. She is also Artist in residence in the Department of Informatics at the University of Sussex in the UK.

David Luke is Senior Lecturer in Psychology at the University of Greenwich where he teaches an undergraduate course on the Psychology of Exceptional Human Experience. He was President of the Parapsychological Association between 2009 and 2011 and as a researcher he has a special interest in transpersonal experiences, anomalous phenomena and altered states of consciousness, having published 100 academic papers in this area. Dr Luke is co-editor of Talking with the Spirits: Ethnographies from Between the Worlds (Daily Grail, 2014) and Breaking Convention: Essays in Psychedelic Consciousness (Strange Attractor, 2013), editor of Ecopsychology and the Psychedelic Experiences (2013), and is also coauthor, with Professor Chris French, of the undergraduate textbook Anomalistic Psychology (2012, Palgrave Macmillan).

Wai H. Tsang studied Computing Science and Artificial Intelligence at Imperial College London. He is best known for his application of fractal geometry as an approach to understanding the brain, mind and genome; and also as a powerful new path to AI. As well as communicating his Fractal Brain Theory he also does public talks about technology and politics, and has spoken at international conferences, including the Bitcoin conference and the Towards a Science of Consciousness Conference. He is currently in the process of launching his AI startup Fractal Brains Corp.

Papaver Rhoeas by Paddy Hartley

Programme for London LASER 12 announced

London LASER 12

Tuesday 17 November 2015

6.30 – 9.00pm (registration/drinks from 6pm)

University of Westminster, Fyvie Hall,

309 Regent Street, London W1B 2UW

 

London LASER presents collaborators from Silent Signal, a project that brings together six artists and six scientists to create experimental animations that immerse the viewer in the networked worlds of organic communication, and Paddy Hartley presents his new work, Papaver Rhoeas, exhibiting across London venues throughout November.

 

The event is free but please book: londonlaser12.eventbrite.co.uk

 

Bentley Crudgington, scientific advisor on Silent Signal, will introduce the central themes running through the project. Eric Schockmel will discuss his collaboration with immunologist Dr Megan MacLeod, Immunecraft; a fictional game which gives users agency over a real life cell culture to compete against opponent players, and explores the parallels between popular gameplay mechanics and human immunity in the age of DNA building blocks, printable organic electronics and biohacking, raising questions about bioethics. boredomresearch (Vicky Isley & Paul Smith) in discussion with Dr Paddy Brock, mathematical modeller at the University of Glasgow, will present their research from AfterGlow, a collaborative project combining a contemporary artistic use of computer simulation with current research from ecology and epidemiology. This talk considers the importance of abstraction in both art and science and the potential for artistic expressions to extend current scientific representation. Silent Signal is Wellcome Trust funded and produced and curated by Animate Projects. @AnimateProjects

 

Bentley Crudgington, project scientific advisor, is a biomedical scientist currently working in veterinary virology focusing on engineering viruses to manipulate the host immune system into fighting other more deadly pathogens. @Incidentallyb

Eric Schockmel is a London based moving image artist and director from Luxembourg. His work spans a personal practice and commissions, as well as freelancing in the creative industries. He creates expressive artworks for digital and physical environments. @Schockmel

boredomresearch are fascinated by the mechanics of the natural world and are internationally renowned for creating artworks which explore extended time periods; exhibiting their work widely in Europe, America & Asia. @boredomresearch

Paddy Brock trained as a field biologist with interests in animal behaviour, evolution and ecology. His current research, at the Institute of Biodiversity Animal Health and Comparative Medicine applies quantitative approaches to investigate disease transmission. @PaddyBrock

 

Paddy Hartley will present his new work, Papaver Rhoeas, lambs-heart biotissue Poppy sculptures which are exhibiting across 10 London cultural venues throughout November 2015. Produced in collaboration with Dr Ian Thompson, Professor Malcolm Logan (King’s College London) and Mr William Edwards, Curator of the Gordon Museum of Pathology, Paddy will discuss the inspiration prompting the creation of the work, the process arrived at to facilitate the preservation and ‘vanishing’ of the work and the cultural phenomenon of remembrance. ‪@patrickihartley