Outreach activities at the interface of science and art present a unique opportunity to connect and engage with “latently interested” publics who do not otherwise take part in science activities such as visiting science museums. In this article, the authors present “Guerilla Science” as one model that supports the hypothesis that well-designed science and art (STEAM) programming in informal settings can broaden participation in and facilitate engagement with STEM-related topics.

This article explores strategies for interpreting Alexander Schubert’s WIKI-PIANO.NET, a composition commissioned and performed by the author in an international tour in 2018 and 2020. Schubert’s score is a website, all sections of which can be edited by the public, similar to a Wikipedia page. The author’s strategies for interpreting the huge range of content added to the website-score draw upon Schubert’s suggestions, the interdisciplinary rigor advocated by Jennifer Walshe, Henri Bergson’s theories of comedy and the author’s own experience as a composer-performer.

This statement details Elia Vargas’s hybrid research art practice and examines alternative histories of crude oil through the social practice of “Art Inspector” Danielle Siembieda. Using art inspection as a creative framework for understanding the entangled nature and culture of the product Crudoleum, invented by American mystic Edgar Cayce, Siembieda evaluates Vargas’s crude oil art practice through an assessment of its environmental impacts. The performative in-spection speculatively and empirically examines assumptions about the materiality of oil.

This statement presents a novel expressive medium that the authors call Ambiguus tiles, which construct dual-view tile mosaics. While similar to wall and surface mosaics made with conventional tiles, Ambiguus tiles can be assembled and rearranged to create dual-view tile mosaics in any size and form. Fact vs. Fiction, a letter sculpture composed of 115 Ambiguus tiles, is presented here as an example of the creative possibilities for using Ambiguus tiles as a ready-to-use design material. As seen in Fact vs.

This article describes an investigation of interactive narrative in virtual reality (VR) through Samuel Beckett’s theatrical text Play. Actors are captured in a green screen environment using free-viewpoint video (FVV). Built in a game engine, the scene is complete with binaural spatial audio and six degrees of freedom of movement. The project explores how ludic qualities in the original text elicit the conversational and interactive specificities of the digital medium.