Abstract
This paper explores the proposition that experiencing art can contribute to scientific discourse on climate issues, especially at the convergence of physical and social sciences. Drawing from an experiment conducted during the Weather Engines exhibition in Athens (2022), it highlights how specialist audiences, notably scientists, engage with contemporary art in their area of specialty, treating the artworks as “research environments” or “discursive spaces” where they can combine their thinking with other scholars. The study prompted scientists to discover novel insights within artworks and propose innovative interpretations of the work. A distinctive metaphorical structure played a crucial role in shaping scientists’ perceptions, fostering fresh perspectives and uncovering layers of meaning that “general audiences” would not perceive. The authors show how insights from this experiment could inform collaborative initiatives to enhance scientists’ ability to tap into the value of contemporary art, particularly regarding climate issues.

Abstract
Passage of Water is Yiyun Kang’s artwork in collaboration with Google Arts & Culture and NASA to highlight the significance of freshwater. Kang uses the datasets and scientific expertise that NASA satellites and scientists provide and employs immersive storytelling and audiovisual techniques to address the climate crisis and its impact on freshwater. The Passage of Water web artwork was launched on the Google Arts & Culture platform on 30 November 2023. Author Kang then adapted the online experiment to an in-person exhibition at the 28th United Nations Climate Change Conference of the Parties (COP28) Dubai, UAE, from 30 November to 12 December 2023.

Abstract
The late-twentieth-century art form Responsive Environments comprised interrelations between artist, artwork, and audience, wherein responsivity and responsibility to an other, be it the social and/or physical environment of the artwork, could be tangibly evoked. Currently, such self-other understanding has become existentially critical, as the ecological and climate crisis collide with a new dearth of understanding concerning human-ecology and human-human responsivities and responsibilities. This article considers how Responsive Environments offered a unique means for exploring responsivity and responsibility between artist, artwork, and audience, and considers what the debates it once evoked might contribute to self-other relations in an age of human-induced planetary rupture, as expressed in climate crisis and mass extinction.

Abstract
Bioimaging experiments are carried out in discrete labs, and artists are rarely granted access. The author finds that they are an underused resource for artist-researchers. In this article, she demonstrates how an artist-researcher can contribute to artscience initiatives in pharmacological research by working in an advanced imaging and microscopy lab and responding innovatively to current circumstances in bioimaging. She does this by thinking about scientific and artistic interdisciplinary practice in a playful way. Informed by established play theories and practices from the literature, she has reviewed, studied, and adapted. Here she discusses research conducted at the School of Life Sciences at the University of Nottingham, where she evaluated play as an insightful concept to provoke a reaction to scientific methods.

Abstract
This article discusses the aesthetic and political aspects of Speaker
Sculptures, an ongoing series of participatory, site-specific sound
artworks by the artist Benoît Maubrey. Informed by pragmatist aesthetics
and combining artwork analyses with ethnographic observations, the text focuses
on the expressive affordances of the sculptures and the way participants act on
them. Using a variety of communication technologies, Speaker
Sculptures artworks bridge the gaps between public, private, and
virtual spaces and allow the participants to perform in public spaces without
being physically present in them. Drawing on Hannah Arendt’s theory of
the public as the political, Nicolas Bourriaud’s relational aesthetics,
and Chantal Mouffe’s antagonism theory, this article discusses the
political implications of such performances.

Abstract
UrbanAI Art is based on the concept of artist-driven artificial intelligence (AI) art. Acknowledging the potential of AI, artists use their work as input, and they manage the overall concept and production of artist-oriented, concept-oriented, and unique artwork. Hence, each artist-driven AI art piece is distinctive and original. UrbanAI Art by Jussi Lahtinen is based on his Metropolis series (2015–) and is built from code that he developed together with game designers at Moido Games, especially Henri Sarasvirta. UrbanAI Art was released in spring 2023, and has since been screened at major events in Europe.

Abstract
The author has developed a new kind of artwork that he calls the “scalar wave painting.” These works use specially prepared canvas, paint and lighting environments to create optical interference with digital cameras. The works appear white to the naked eye but emit frequencies that are similar to quantum scalar waves and take on multiple, changing hues when viewed through a digital camera. This work is of artistic interest because each photograph of the same object will look different. Therefore, it challenges perception and changes the one-to-one relationship between object and representation at the center of much of art and technology theory.

Abstract
Artist Nina Sobell uses electronic media to unveil the invisible ties between ourselves and others. Addressing the transformative potential of nonverbal communication, the author analyzes Meditations, Memory, Dream, Fantasy and Solar Wind Weaving Sun and Moon, Sharing a Shadow, two collaborative projects created by Sobell in 1999 to inspire collective acts of imagination. Merging images of brainwave oscillations with video feedback and automatic drawing, these participatory artworks elicit a heightened sense of embodied presence and emphasize the interdependence between planetary and human rhythms.

Abstract
The term algorithm derives from Al-Khwārizmī
(813–833), a Persian polymath based in Baghdad. His contributions to
mathematics left an enduring impact on subsequent centuries. While translations
of his algebraic works reached Christian Europe during the medieval period, a
deeper examination is necessary to understand how his concepts were transmitted.
In the early 1970s, artists exploring computational art, Roman Verostko
(1929–2024) and Jean-Pierre Hébert (1939–2021), revitalized
the term algorist to define their ventures into visual art
utilizing computational technologies. Despite temporal disparities, fascinating
conceptual parallels emerge between the practices of these modern algorists and
the intellectual life and discussions of the Middle Ages linking scholars such
as Abraham Bar Ḥiyya of Barcelona (1065–1145) and Fibonacci
(1170–1240).

Abstract
Scholars of drone technologies have focused on how consumer drones are regularly exploited for surveillance and violence. But the emphasis on how consumer drones are associated with brutality and reconnaissance narrows drone research and remains unfair to those who have used these technologies differently. This article studies consumer drones in Korakrit Arunanondchai’s video installation Painting with history in a room filled with people with funny names 3 and the documentary film Human Flow by Ai Weiwei. It argues that reading these drones as existential technologies helps us see how these artists use them in ways that undermine putative assumptions of human vision and knowledge, gesturing toward a more meaningful coexistence with these machines.

Abstract
This paper reviews different attempts to recuperate Jack Burnham’s theoretical framework of systems aesthetics, using software as a metaphor for understanding the neo-avant-garde. Rather than recuperate Burnham’s theory to deepen our understanding of post-formalist art of the 20th century, the author suggests applying the systems aesthetics approach to contemporary video game art. This proposal moves Burnham’s metaphorical analysis of software to a material application that can integrate video game artworks with other art traditions. The author argues that video game art is a cogent cultural context for understanding systems aesthetics in the 21st century and that taking up the systems aesthetics approach is critically important for applying arthistorical work to techno-political matters.

Abstract
This article explores the concept of “Poor AI,” drawing inspiration from Hito Steyerl’s notion of “Poor Images,” and examines the hidden digital labor within artificial intelligence (AI) development, revealing how AI systems, fueled by data collected from the digital proletariat, shape a force with the potential to disrupt established norms and challenge hierarchies. The hidden labor behind AI’s efficiency and its alignment with capitalist interests is uncovered. This investigation sheds light on the paradox of AI’s power, which simultaneously empowers and diminishes human agency, and its acceleration of inequality within the digital economy.