Author: adelmootranto

Lessons From Now

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Lessons From Now

photo by Ben Kreukniet

 

A new fund to help support SWCTN alumni whose livelihoods have been impacted by Covid-19 (Coronavirus) to continue their professional practice at this critical time.

The Brief

  • Is there a creative technology experiment that you can achieve from a position of social isolation? 
  • Is there R&D you can do now for a future project? 
  • Is there some future-gazing that you’d like to undertake? 

 

SWCTN are offering micro commissions of up to £2500 Offered on a rolling basis throughout May and June

Covid-19 is changing both the way we work and the context for our work. How might our shifting understanding of time, touch, liveness, connection and the way we experience our environment impact on what we do next? What observations or discoveries are you making that you want to hold onto for the future, and what impact is this having on your creative practice?

SWCTN recognises the difficulties that many parts of our network are currently experiencing. Within the context of self-isolation and social distancing, many will have seen work plans significantly changed and income disappear. 

We feel strongly that your work is significant and that it holds real value as we begin to emerge from the current crisis and look to build a different kind of future. We want to support that work by commissioning, gathering, and sharing your ideas. With that in mind, we are redirecting some of our grant funding to buy you time for thinking, planning and innovating.  

We are seeking applications that look to the future and build on the work that you have done with SWCTN to date. Applications should reflect on one or more of the network’s on-going discussions about immersion, automation, and data, as well as the ideas that the SWCTN team have begun to explore more recently around economic resilience, inclusion and environmental sustainability. 

SWCTN values interdisciplinarity, as well as cross-sector and cross-region working, the hyperlocal and the global. Your work might be in collaboration with other members of the existing SWCTN network, or you might want to work on your own. Your output should support creative resilience either in your own work or in the broader community. 

Your response might use text, film, or audio; for example, it could be a prototype (on paper or mocked-up) for a future project, an artefact or object that you create, a reflective essay, or a wireframe for a future web project. It might be something else entirely, providing it can be delivered, shared and meets the other criteria – we’re willing to consider it.

SWCTN website here:

Nema Hart

adelmootranto i-DAT

Relationship Manager, Creative Media, Arts Council England South West

Nema’s academic background and interests are in arts, science, and technology. She has a BSc (Hons) MediaLab Arts and an MSc in Digital Futures. In 2003 Nema joined Arts Council England (ACE) where she held the strategic lead for local government in the South West and was responsible for managing £1million partnership projects; she became the regional lead for international work and developed strong links with the British Council’s Creative Economy programme. In 2007 she was invited to do a secondment at ACE’s national office in London where she led on the national Creative Economy Programme. Nema returned to the South West (had two children) and now leads on ACESW priorities for Arts Technology and holds the strategic lead for Cornwall.

Alongside Nema’s career in academia and public sector she has actively been supporting and promoting new talent. In 1999 Nema founded Submerge an organisation that provided a platform for graduates, researchers and innovators to celebrate, network and promote their skills to industry. The submerge platform supported graduates to connect with industry to gain employment and encourage entrepreneurial activity. Submerge’s network of new talent has grown over the years to include hundreds of graduates now in industry who are continuing to support the next generations of creative talent.

Recently Nema has taken a part time career break from ACE to lead an all-female creative tech team to deliver the R&D for an exciting automation prototype – Looking for the Cloud. This will test the model for a new creative tech partnership in the SW – The Re+ Collective which supports diversity and talent in the creative technology sector.

Imaged Reality

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Imaged Reality

Returning for the third year, the annual festival showcases the outstanding research carried out by staff at the University in collaboration with colleagues and partners locally, nationally and internationally.

Visual narratives can bring science to life, lifting graphs and diagrams from paper to instead tell a story; fly to the edge of the universe, across microscopic nano-landscapes, or even through the human body. 

  • Do you have research that could benefit from innovative visualisation?
  • Have you experienced the capabilities of visualised data and what the Immersive Vision Theatre (IVT) can do?
  • Are you aware of the support available to tell the story of your research data?

The University of Plymouth is home to cutting-edge research and discovery, along with emerging digital technologies that have the potential to revolutionise how we present technical information to non-technical audiences.

The Sustainable Earth Institute is celebrating innovative and novel ways of communicating data through visualisation, showcasing some of the exceptional research that takes place across the University, including research and business collaborations with the Impact Lab.

The Immersive Vision Theatre (IVT) sits in the heart of campus, a transdisciplinary facility that supports research and development in data visualisation and simulation for Virtual Reality/Augmented Reality and shared VR. Originally the William Day Planetarium, the IVT is used for teaching, entertainment and research activities. The specialist technology allows us to paint an alternative perspective of research and how it is shared with the world.

The daily showcase will demonstrate how the themes of marine, sustainability, health and the arts can be re-imagined for immersive experiences.

There will also be an overview of Impact Lab, and how it brings together researchers and businesses for collaborative projects that address big data and environmental challenges.

Programme

The programme will be repeatedly daily throughout the Research Festival. 

12:00 | Welcome from Professor Iain Stewart, Director of the Sustainable Earth Institute; or Professor Mike Phillips, Professor of Interdisciplinary Arts of i-DAT.

12:15 | Immersive Visualisation Showcase by Luke Christison, Senior Technical Manager of the IVT

  • Inside the brain of Mike Phillips through MRI scans
  • NASA’s interpretation of wind and currents on the world
  • Reaching the outer edges of the observable universe

12:45 | Impact Lab: supporting businesses through visualisation by Sarah Fear, Project and Knowledge Exchange Manager.

Telematic Embrace

adelmootranto F-Hv1.0

Satellite Interview /

Roy Ascott, David Bowie, Brian Eno /

1995 /

Roy Ascott / David Bowie / Brian Eno

Opal Information was published between 1986 and 1996 by Brian Eno’s Opal Music label, Opal Ltd. It documented and discussed the activities of the artist and musician and the various collaborations and projects. Pages 8 to 10 of Opal Information (number 26, 1995) present an extract from a live satellite interview between Roy Ascott, Brian Eno and David Bowie where they discussed all things interactive and the emergence of a now faint memory, the CDROM.

Brian Eno was a student of Ascott on the Groundcourse at Ipswich Civic College and have maintained a creative dialogue over the years. In 1993 Brian Eno was awarded an Honorary Doctorate by Plymouth University.

A PDF of Number 26 can be found here: MORE DARK THAN SHARK has no official association with Brian Eno or his representatives.

These telematic entanglements can be better understood by reading Ascott’s writings:

Telematic EmbraceVisionary Theories of Art, Technology, and Consciousness

by Roy Ascott (Author), Edward A. Shanken (Editor), December 2007

Thom Yorke

adelmootranto F-Hv1.0

When I Grow Up/

Thom Yorke/

1991/

This image, along with around 5 others, are all that remain of Thom Yorke’s early Hypercard Stack experiments. Yorke was a student of Mike Phillips in Fine Art, 4D at Exeter College of Art, and one of very few students to use the Mac equipment for artistic purposes (as opposed to graphic design) choosing to develop interactive narratives which nurtured themes that are clearly evident in his later music output. He also contributed to the networking projects in collaboration with Roy Ascott and Robert Pepperell.

Phillips purchased Yorke’s hypercard stack for £10. Originally stored on an Apple 800k floppy and developed on a Mac Plus and Mac SE in Superpaint, the Hypercard Stack is now corrupted and unrecoverable. Audio samples, interactions and navigation have all been lost.

This fragment is exhibited in Future History v1.0 on a Mac SE curtesy of The South West Retro Computing Archive.

Bio:

Lead singer of Radiohead.

https://en.wikipedia.org/wiki/Thom_Yorke

 

 

Constellation Columbia

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FUTURE HISTORY v.10: Constellation Columbia

 

‘Constellation Columbia’ is an autonomous space monument inspired by the writing s of J.G. Ballard. The scale/model/prototype seen on the Culture Show incorporated simple audio/radio recording and transmission, gyroscopes, gravity switches and light sequencers. The work is being developed for inclusion in future zero gravity flights with the aspiration for a full scale release from the International Space Station.

‘Constellation Columbia’, prototype monument for ‘Dead Astronauts/Cosmonauts’.

A survey of Arts Catalyst’s pioneering zero gravity projects carried out over the last 10 years. Beginning with a contextual overview, the book traces the development of the projects and discusses the collaborations with Kitsou Dubois and Imperial College’s BioDynamics group, and the inauguration of the MIR (Microgravity Interdisciplinary Research) consortium which gives international artists the opportunity to carry out individual projects in zero gravity. The book contains essays by Eduardo Kac, Marina Benjamin, Rob la Frenais, Kodwo Eshun, with an introduction by Nicola Triscott. It features projects by Kitsou Dubois, Mike Stubbs, Ansuman Biswas and Jem Finer, Andrew Kotting, Dr Antony Bull, Morag Wightman, Louise K Wilson, Flow Motion, Marcelli Antunez Roca, i-DAT, Otolith Group with Richard Couzins, Yuri Leiderman, Vadim Fishkin, Marko Peljhan, Dragan Zivadinov, Andrei and Julia Velikanov, Mikhail Ryklin, and Dr Rebecca Forth.

https://www.artscatalyst.org/zero-gravity-cultural-user%E2%80%99s-guide-2005

 

https://www.artscatalyst.org/attention-weightlessness

Zero Gravity Robot. Commissioned by The Arts Catalyst. as part of the. MIR Campaign 2003 at the Gagarin Cosmonaut Training Centre, Russia. MIR Campaign 2003 supported by the European Commission Culture 2000 Fund.

Constellation Columbia, model/prototype, 2003. Zerogravity, A Cultural User’s Guide. The Arts Catalyst. 2005. Page 84-85 ISBN 0-9534546-4-9.

Zero Gravity: A Cultural User’s Guide
ISBN 978-0-9534546-4-8
Edited by Nicola Triscott and Rob La Frenais
Published by Arts Catalyst, 2005
Colour and monochrome, 98 pages, soft back
Dimensions 250mm x 250mm
Weight 510g
£15.00

Buy online at Cornerhouse Books

Deshmukh, S. Phillips, M. Bugmann, G.  2007. Self orientation of robot in zero gravity environment using optical camera and reaction torque of electric motors.

EXECUTIVE SUMMARY: CULTURAL UTILISATION OF THE INTERNATIONAL SPACE STATION. Arts Catalyst. The Science-Art Agency. 2006.

READ ME:

03/04/2003

Nicola Triscott <nicola@artscatalyst.org>
5 Meadow Close, Sevenoaks, Kent TN13 3HZ

PROTOTYPE # 1: CONSTELLATION – COLUMBIA:

MODEL OF A SPACE MONUMENT

I-DAT: WWW.i-DAT.ORG

1: POWER…

2: LED…

3: GYROSCOPE…

4: AUDIO…

5: GYROSCOPE…

6: RADIO…

  1. A) Simply click the red ‘ON’ switch and release into the environment…
  2. B) Battery life is aprox 1 hour in total.

C)Please conserve energy by switching off when not in use.

  1. D) To stop vibrating gyroscopic modules tilt to deactivate mercury switches.
  2. E) Extend aerial on module 6: Please tune radio to appropriate static source.

 

 

Eduardo Kac

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GFP Bunny /

Eduardo Kac /

2000 /

Eduardo Kac and Alba, the fluorescent bunny. 

“My transgenic artwork “GFP Bunny” comprises the creation of a green fluorescent rabbit, the public dialogue generated by the project, and the social integration of the rabbit. GFP stands for green fluorescent protein. “GFP Bunny” was realized in 2000 and first presented publicly in Avignon, France. Transgenic art, I proposed elsewhere [1], is a new art form based on the use of genetic engineering to transfer natural or synthetic genes to an organism, to create unique living beings. This must be done with great care, with acknowledgment of the complex issues thus raised and, above all, with a commitment to respect, nurture, and love the life thus created.”

More details on GFP Bunny….

Bio:

Eduardo Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web ’80s, Eduardo Kac (pronounced “Katz”) emerged in the early ’90s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis); from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State); from the problematic notion of the “exotic” (Rara Avis) to the creation of life and evolution (GFP Bunny). At the dawn of the twenty-first century Kac opened a new direction for contemporary art with his “transgenic art”–first with a groundbreaking piece entitled Genesis (1999), which included an “artist’s gene” he invented, and then with “GFP Bunny,” his fluorescent rabbit called Alba (2000). Kac’s work has been exhibited internationally at venues such as Exit Art and Ronald Feldman Fine Arts, New York; Maison Européenne de la Photographie, Paris; Castello di Rivoli, Turin, Italy; Mori Art Museum, Tokyo; Reina Sofia Museum, Madrid; Zendai Museum of Modern Art, Shanghai; and Seoul Museum of Art, Korea. Kac’s work has been showcased in biennials such as Yokohama Triennial, Japan; Biennial of the End of the World, Ushuaia, Argentina; Gwangju Biennale, Korea; Bienal de Sao Paulo, Brazil; International Triennial of New Media Art, National Art Museum of China, Beijing; and Bienal de Habana, Cuba. His work is in the permanent collections of the Tate, London; the Victoria & Albert Museum, London; the Museum of Modern Art in New York; Frac Occitanie—Regional collections of contemporary art, Les Abattoirs—Museum of Modern and Contemporary Art, Toulouse, France; the Museum of Modern Art of Valencia, Spain; the ZKM Museum, Karlsruhe, Germany; Art Center Nabi, Seoul; and the Museum of Contemporary Art of São Paulo, among others. Kac’s work has been featured both in contemporary art publications (Contemporary, Flash Art, Artforum, ARTnews, Kunstforum, Tema Celeste, Artpress, NY Arts Magazine), contemporary art books (Phaidon, Thames and Hudson, Oxford, MIT Press) and in the mass media (ABC, BBC, PBS, Le Monde, Boston Globe, Washington Post, Chicago Tribune, New York Times). Kac has received many awards, including the Golden Nica Award, the most prestigious award in the field of media arts and the highest prize awarded by Ars Electronica. He lectures and publishes worldwide. His work is documented at <www.ekac.org>.

http://www.ekac.org/bio2pg.html

 

Notes Towards

adelmootranto F-Hv1.0

Spacex Gallery, 1 May – 22 June 2002

Generator: curated by Spacex & STAR, with support from the Institute of Digital Art & Technology and the Arts Council of England (Collaborative Arts Unit). Spacex Gallery, 1 May – 22 June 2002, and touring in the UK. Generator will present a series of ‘self-generating’ projects, incorporating digital media, instruction and participation pieces, drawing machines, experimental literature, and music technologies. All work will be produced ‘live’, in real-time, with some elements continuing indefinitely.

The exhibition can also be described as ‘generative’ in that it will develop and expand over time, by acting as a point of connection for different generative practices across disciplines, pointing to the relationship of visual arts to other media – especially sound works, performance, and issues relating to chaos theory and complexity, neural networks and artificial life.

http://www.generative.net/generator/

And …

STAR & Sulawesi crested macaque monkeys from Paignton Zoo
As part of the development of the Vivaria project, Generator hosted a troop of Sulawesi crested macaque monkeys from Paignton Zoo to test Infinite Monkey Theorem. The idea that an infinite number of monkeys with typewriters for infinity could eventually produce the complete works of Shakespeare was enacted in a monkey cage in Paignton Zoo…

Notes Towards the Complete Works of Shakespeare were produced in response to the familiar idea that if an infinite number of monkeys are given typewriters for an infinite amount of time, they will eventually produce the complete works of Shakespeare. It was translated to a computer environment, producing live updates published on the web, alongside a webcam view of the
production scene showing the creative activity in its fuller context. The text was first produced in Paignton Zoo by a group of Sulawesi Macaque monkeys as their contribution to the exhibition GENERATOR (1 May – 22 June 2002, Spacex Gallery), curated
by SPACEX & STAR, and supported by the National Touring Programme of the Arts Council of England and the Institute of Digital Art & Technology. The project forms part of a research stage of [VIVARIA.NET] also funded by the Arts Council of England. Thanks to the monkeys, keepers and staff at Paignton Zoo for their help in the production of this work.

Real monkeys: In 2003, lecturers and students from the University of Plymouth MediaLab Arts course used a £2,000 grant from the Arts Council to study the literary output of real monkeys. They left a computer keyboard in the enclosure of six Celebes crested macaques in Paignton Zoo in Devon in England for a month, with a radio link to broadcast the results on a website. Not only did the monkeys produce nothing but five total pages largely consisting of the letter S, the lead male began by bashing the keyboard with a stone, and the monkeys continued by urinating and defecating on it. Mike Phillips, director of the university’s Institute of Digital Arts and Technology (i-DAT), said that the artist-funded project was primarily performance art, and they had learned “an awful lot” from it. He concluded that monkeys “are not random generators. They’re more complex than that. … They were quite interested in the screen, and they saw that when they typed a letter, something happened. There was a level of intention there.”

Notes Towards The Complete Works of Shakespeare Book.

ttp://en.wikipedia.org/wiki/Infinite_monkey_theorem

Credits:

NOTES TOWARDS THE COMPLETE WORKS OF SHAKESPEARE BY: ELMO, GUM, HEATHER, HOLLY, MISTLETOE & ROWAN SULAWESI CRESTED MACAQUES (MACACANIGRA) FROM PAIGNTON ZOO ENVIRONMENTAL PARK (UK).

STI

adelmootranto F-Hv1.0
STI

FUTURE HISTORY v1.0: THE  S.T.I.  PROJECT: THE SEARCH FOR TERRESTRIAL INTELLIGENCE.

S.T.I. is funded by the SciArt programme (supported by the ACE, the British Council, the Calouste Gulbenkian Foundation, SAC, the Wellcome Trust and NESTA)., and turns the technologies that look to deep space for Alien Intelligence back onto Planet Earth in a quest for ‘evidence’ of Terrestrial Intelligence. Looking at Earth from space the project will develop processing techniques using autonomous computer software agents. S.T.I. moves beyond irony by engaging with our understanding of the ‘real world’ through our senses, whether real or artificially enhanced. Will these autonomous systems ‘know’ the ‘truth’ when they ‘see’ it? The S.T.I. Consortium: STAR, Dr Guido Bugmann, Dr Angelo Cangelosi, Laurent Mignonneau, Christa Sommerer, Dr Nick Veck.
sti1sti3
sti2
The STI Server is no longer alive but video grabs can be found here:

Documentation:

landscap_trauma_cover_600_760
T H E  S . T . I .  P R O J E C T :  T H E  S E A R C H  F O R  T E R R E S T R I A L  I N T E L L I G E N C E
INTRODUCTION: PROJECT: CONSORTIUM: PATHWAY: OUTPUT: COPYRIGHT:
INTRODUCTION:
The Search For Terrestrial Intelligence is funded through an R&D grant awarded to the Consortium by the Wellcome Trust SciArt competition http://www.wellcome.ac.uk/sciart. The sciart competition aims to encourage scientists and artists to work together creatively. Awards are offered to partnerships of scientists and artists working on projects that capture the public’s imagination with some aspect of biology, medicine or health. The competition has been run twice, in 1997 and 1998.
S.T.I. turns the technologies that look to deep space for Alien Intelligence back onto Planet Earth in a quest for ‘evidence’ of Terrestrial Intelligence. Using satellite imaging and remote sensing techniques S.T.I. will scour the Planet Earth using similar processes employed by SETI (the Search for Extra Terrestrial Intelligence). Looking at Earth from space the project will develop processing techniques using autonomous computer software agents. In their search for evidence of intelligence the agents will generate new images, animations and audio (which may produce more questions than answers) which will be publicly accessible on this website.

From the original Wellcome ArtSci Pitch:
PROJECT:
S.T.I. establishes a common ground for the consortium by sharing the collective knowledge of remote sensing, imaging technologies, autonomous agents (AI and Neural Networks), and On-Line interaction. The Project fuses this knowledge into a challenging exploration of planetary data analysis, through a process of experimental prototyping of a number of autonomous data analysis agents that will reside on this website.
Vision dominates our culture and lies at the heart of scientific and artistic endeavour for truth and knowledge. Increasingly the dominance of the human eye is being challenged by a new generation of technologies that do our seeing for us. These technologies raise critical questions about the nature of the truth and knowledge they illicit, and the way in which we interpret them. In turn these questions raise issues about the way we, through science and art, have always ‘known’ the world. The S.T.I. Project goes beyond the irony of the search for terrestrial intelligence on Earth by engaging with our understanding of the ‘real world’ through our senses, whether real or artificially enhanced. Will these autonomous systems ‘know’ the ‘truth’ when they ‘see’ it?
The S.T.I. Project reveals the processes used by science to ‘see’ the ‘real world’, making transparent the scientific method itself. In so doing S.T.I. generates ‘artefacts’ that question the way we perceive our environment and ourselves. This process of imaging says as much about the observer, the nature of the experiment and the technology as it does about the actual data gathered. This link between knowledge and vision, knowing and seeing, questions the way art and science utilise the visual dialectics of truth and deception.
The S.T.I. Project engages in critical issues surrounding the shift from the hegemony of the eye to the reliance on autonomous systems to do our seeing for us. This shift has an equal impact on scientific processes and creative endeavour. By turning away from ‘outer space’ to an examination of ‘our space’ the project also engages public interest, as expressed in the popular imagination through science fiction (X files, etc), in the alien within our midst. Do we recognise ourselves when seen through our artificial eyes.
For example: ‘Face on Mars’. The blurred and faded images sent back by the 1976 Viking Orbiter reveal little to the naked eye, until they are digitally processed. The processing slowly reveals a skull like face that stares blankly from the surface of mars. The technology strips away the grain and fuzz and re-visions. The ‘face’ becomes gradually un-obscured, progressively un-veiled, with features suggestive of eyes, a ridge-like nose, and a mouth, its ‘truth’ emerging through the technology. Maybe the processing techniques employed allow us to see more clearly the images we nurture inside our heads. Maybe they bring into sharp focus the things we want to see.

CONSORTIUM:
The S.T.I. Project Consortium brings together artists, scientists and technologists from four research groups (STAR, CNAS, ATR, NRSC) based in three organisations, the University of Plymouth, ATR Media Integration & Communications, Research Laboratories, and the National Remote Sensing Centre (NRSC) Limited. The S.T.I. Project involves a Development Committee, which consists of eight individuals, short C.V.s are included in the supporting information section of this application. They are:

PATHWAY:
The research and development of the S.T.I. project is broken down into three stages. The nature of the project requires an exploratory and prototyping method of systems design. Although there is no recognised ‘best practice’ critical pathway, STAR has identified a system, which is based on EMG’s production pathway. Many of these activities will run concurrently.

R&D Pathway: May 2000-March 2001:
Phase 1: Concept and Research. This will consist of a design process, which identifies/assesses the nature of: the information currently available from remote sensing technologies; processing techniques currently employed for the analysis of remote sensing data; rules and processes that can be employed to ‘train’ the autonomous systems; design guidelines for the production of the autonomous analysis systems.
Much of this knowledge exists within the S.T.I. consortium, its dissemination between the committee will take place through meeting (IRL and On-Line).
Phase 2: Prototyping. This will require the consortium and the production assistant to generate autonomous systems.
Phase 3: Website design and production.
The completion of the R&D stage will be formalised by a S.T.I. Project Seminar/Launch, which will provide a public presentation of the projects findings and activities.

Signs from the S.T.I. Database:

Victoria Vesna

adelmootranto F-Hv1.0

Bodies INCorporated /

Victoria Vesna /

1993~6 /

Started as a conceptual art project in 1996 – one of the first 3D net art pieces that was written about extensively and exhibited internationally. Thousands of bodies were created by participants and specially highlighted people from exhibitions in museums and galleries are still available to view. In progress now is development of Bodies Corp 2.0 — utilizing new and old (outsourced) technologies that have developed in the past 2 decades and offering ‘third eye copyright” to the audience.

http://www.bodiesinc.ucla.edu/

Bio:

Victoria Vesna, Ph.D., is an Artist and Professor at the UCLA Department of Design Media Arts and Director of the Art|Sci Center at the School of the Arts (North campus) and California NanoSystems Institute (CNSI) (South campus). Although she was trained early on as a painter (Faculty of Fine arts, University of Belgrade, 1984), her curious mind took her on an exploratory path that resulted in work can be defined as experimental creative research residing between disciplines and technologies. With her installations she investigates how communication technologies affect collective behavior and perceptions of identity shift in relation to scientific innovation (PhD, CAiiA_STAR, University of Wales, 2000). Her work involves long-term collaborations with composers, nano-scientists, neuroscientists, evolutionary biologists and she brings this experience to students. Victoria has exhibited her work in 20+ solo exhibitions, 70+ group shows, has been published in 20+ papers and gave 100+ invited talks in the last decade. She is the North American editor of AI & Society journal (Springer Verlag, UK) and in 2007 published an edited volume – Database Aesthetics: Art in the Age of Information Overflow (Minnesota Press) and another in 2011 — Context Providers: Conditions of Meaning in Media Arts. (co-edited with Christiane Paul and Margot Lovejoy) Intellect Ltd, 2011. Currently she is working on a series Art Science & Technology based on her online lecture class.