This article takes the form of a discussion between Flora Parrott (an artist) and Harriet Hawkins (a geographer), who first brought together their existing interests in caves and the underground in 2015. Gully Cave (southwest England), a site of their shared “fieldwork,” and two experimental workshops offer the context to reflect on their evolving work together.
As the profile of the arts-and-health sector grows and interdisciplinary projects with public outcomes become more common, it is useful to explore roles and ways of working at the interface between different disciplines. The authors analyze the complex role of producer, likely to become increasingly relevant in this landscape. While incorporating aspects of existing roles (e.g.
The author discusses her work and approach to timbre-based composition. Emergent in her works are a common theme and exploration of “timbre spaces” and “timbre in space.” She discusses two pieces: Ostiatim, for string quartet, and Occupied Spaces, for two pianos and percussion.
This article follows the methodology behind the composition of the author's piece RGB (2019) for clarinet and piano, a sonification of four color graphs generated from Jackson Pollock's Out of the Web (1949). The article demonstrates the process of “mapping” data to sound while creating allowances for compositional intuition.
Vessels is a brain-body performance practice that combines flute improvisation with live, sonified brain and body data. This article describes the genesis of this performance practice, which coevolved with the author’s brain-music interfacing and physiological data sonification methods. The author presents these novel interface designs and discusses how the affordances and constraints of these systems reflect onto her brain-body performance technique.
Depictions of DNA span a variety of aesthetic choices for presenting the details of DNA. One important consideration is the didactic intent of the illustrator: What do they want the audience to know? Another issue to consider is change over time: Knowledge about DNA has become increasingly sophisticated over six decades, and this contributes to the variety of visual depictions. One way to make sense of these aesthetic decisions is to trace them historically through four phases.
This position statement describes the transformation of an interactive installation from an instrumental piece of art and science pedagogy into a meaningful performative piece, which forced its creators to adopt a political stance in the light of a period of social unrest taking place in Chile beginning in October 2019. It describes how an apparently nonpartisan installation transitioned into a tool for political expression and refuge. It also allowed the artists to rethink their role in the community as facilitators of art spaces for self-dialogue.
Staining wood with fungal pigments has a long history in fine art, especially wood naturally stained blue-green by fungi from the genus Chlorociboria. Recent innovations have allowed for controlled application of extracted pigment for reinterpreting this old art form. This technology is showcased in objects created for a production of The Blue Forest by Louis Aubert, representing the power of nature and natural magic within the play.