ASN

RHIZOSPHERE: THE BIG NETWORK OF SMALL WORLDS Beata Tyrcha | Biosphere: Stone and Hand drawings The work oscillates between culture and nature. As a result of an artistic experiment, living organisms were brought to life, the form of which became the inspiration for a series of drawings entitled Mushrooms and other spots. Combining the image that was created as a result of the life expansion of microorganisms and a drawing referring to these forms in one installation results in expanding the boundaries of artistic expression and the possibility of obtaining new aesthetic effects. Maria Subczyńska, Piotr Słomczewski | Mikoryzator interactive installation PHOTOS FROM THE EXHIBITION (author: Jagoda Haloszka) ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

LOOKING AT 3D SIMULATIONS OF THE STRUCTURE OF THE UNIVERSE, SYSTEMS OF NEURAL NETWORKS OR VISUALIZATIONS OF THE INTERNET CONNECTIONS NETWORK, WE WONDER IF THERE AREN’T ACTUALLY MORE LINKS THAN DIVISIONS IN THE MICRO- AND MACROWORLDS; IN BIOLOGICAL AND TECHNOLOGICAL STRUCTURES OF OUR EXISTENCE. We live in the world where various networks combine with each LIKE THE MAN other; build both physical & visual and non-physical, non-visual MADE INTERNET, relations; work in an entanglement of beings, identities and times, THE WOOD WIDE between the past, the now and the future. This page represents WEB NETWORK this world of network connections. GROWS, IT EXCHANGES Left side of the network represents the natural world, constructing INFORMATION the Wood Wide Web (pictures taken by the participants of the AND SHARES Rhizosphere fieldwork in Białowieża in 2019). RESOURCES; IT HAS ITS OWN DEFENSE Right side represents other various networks existing in us and SYSTEMS. around us: - Neurons on Track (pic. by Max-Plank-Institute for Brain Research; h t t p s : // w w w. m p g . d e / i m a g e s - s c i e n c e); - the World Wide Web (pic. 2014 by LyonLabs, LLC and Barrett Lyon; h t t p s : // w w w. 3 d i n c i t e s . c o m / 2 01 3/10/c u - p i l l a r s - w l p - i n t e r n e t- o f - things/); - Supercomputer simulations probe the formation of galaxies and quasars in the universe (pic. by an international team of astrophysicists led by researchers at the Max-Planck-Institute for Astrophysics, https://www.mpg.de/research/supercomputer- simulations-galaxies-quasars-universe); - A Web of Dark Matter (pic. by Max-Planck-Institute for Radio Astronomy; https://www.mpg.de/images-science); - Virtual Reality entanglement (still from the work “EpiMimesis, EpiZone V: Shifting Identities” by Joanna Hoffmann).

NETWORK COMMUNICATION HAS BEEN KNOWN TO NATURE FOR MILLIONS OF YEARS. WE ARE ONLY BEGINNING TO DISCOVER THE PRINCIPLES OF ITS OPERATION.





Projects Opening Evolution II: exhibition & forum Elusive Identity exhibition & forum 56 - 57 CAPTURE THE FUTURE(S) Evolution I exhibition & forum THERE ARE THOSE WHO LOOK AT THINGS THE WAY THEY ARE, AND ASK WHY… I DREAM OF THINGS THAT NEVER WERE, AND ASK WHY NOT? Robert F. Kennedy 1968 Presidential Campaign Art & Science Node

CAPTURE THE FUTURE(S) CAPTURE THE FUTURE(S) EVOLUTION ORGANIZER AIM Art & Science Node Both the ASN’s motto and a series of events focused on various aspects of evolution, that influence not only biological sciences but COOPERATION the changing perception of ourselves and our relationship to the natural, social and technological environments. Project was initiated Club for Sciences & Art, Poznań by the necessity to provide a platform for knowledge and experience BIO·FICTION Science Art & Film Festival by exchange on the topic of how we shape today and the future realities. Biofaction The new landscape of dynamic, post-digital reality raises questions Transmediale Art & Digital Culture Festival regarding the coordinates of modern human identity. Is the elusive German Patent and Trademark Office – border of human and nonhuman a potential beginning of the brave Information & Service Centre Berlin (DPMA-IDZ) new world? How can we navigate the fast-evolving future, while constantly redefining ourselves? Art and science together might Studio for Transdisciplinary Projects and Research provide potential directions. at Faculty of Artistic Education and Curatorial Studies of the University of Arts (UAP) EVOLUTION Faculty of Biology of the Adam Mickiewicz University (UAM) in Poznań Evolution is most often associated with complex biological processes Poznań RNA Research Centre Leading National that cause changes in the characteristics of entire groups of organisms Research Centre – KNOW following the course of generations. The result is the formation of Center for Conflict Resolution, Munich biodiversity at all levels of biological organization, including species. CTM Festival – Festival for Adventurous Music & Art 3IT – Innovation Center for Immersive The research on various aspects of evolution significantly Technologies affects not only the biological sciences but also other fields, i.e. anthropology, psychology, artificial intelligence research, IT and more. It changes the perception of ourselves as a set of data, and our relation to the natural, social and technological environment. In the age of growing Big Data and dark knowledge, of the multiplicity and richness of new scientific discoveries and philosophical concepts, what can we say about the nature of human uniqueness and the future of humanity as the global population is growing dramatically? ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

Projects PROJECT’S CHRONICLE CAPTURE THE FUTURE(S) ELEMENT ARTISTS INVOLVED 2015 Capture the Future(s): Opening 25 Jan – 01 Feb Artworks BIO·FICTION Movies Eric Schockmel Luis dos Santos Ursula Damm Lorenzo Oggiano Ethan Shaftel Sam Ireland Minsu Kim Clea T. Waite Shamees Aden Lauren Fenton Sam J. Bond Joanna Hoffmann Uwe Sleytr Andre Bartetzki Marie-Sarah Adenis WROcenter Group Hugo Kreit 58 - 59 Capture the Future(s): Evolution I 2016 29 Oct 2015 Artworks – 14 Jan 2016 Jill Scott Suzanne Anker Joanna Hoffmann Reiner Maria Matysik Katarzyna Hoffmann 2017 Capture the Future(s): Evolution II 28 Jan – 03 Feb Artworks Vesna Petresin Anna Anders Jill Scott David Glowacki Rafał Zapała Eran Hadas Joanna Hoffmann Featuring workshop with Dr David Glowacki, Dr. Basile Curchod and Becca Rose Art & Science Node

CAPTURE THE FUTURE(S) SCIENTISTS INVOLVED INSTITUTIONS INVOLVED Special Guest & participants of the Forum Rob La Frenais (Dr) Ingeborg Fullep (Ass. Prof.) Ralf Schäfer (Dr) Zofia Szweykowska-Kulińska (Prof. Dr hab.) Artur Jarmołowski (Prof. Dr hab.) Lecturers Organizers Prof. Władysław Polcyn Partners Prof. Jacek Radwan Prof. Borys Wróbel Prof. Krzysztof Łastowski Discussion moderators Prof. Zofia Szweykowska-Kulińska Prof. Artur Jarmołowski Prof. Joanna Hoffmann Organizer Main Partners Panelists Special guests Partners Dawid Glowacki Prof. Zofia Szweykowska- Eran Hadas Kulińska Joanna Hoffmann Prof. Artur Jarmołowski Manfred Holler Prof. Dr Eliza Wyszko Jonathan Jeschke Ralf Schaefer ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

Projects PROJECT’S ELEMENTS CAPTURE THE FUTURE(S): OPENING 60 - 61 Type: EXHIBITION + FORUM Dates: 25.01. – 01.02.2015 Location: Art & Science Node, Berlin (DE) Artists: Artworks BIO·FICTION Movies Eric Schockmel Description: Luis dos Santos Ursula Damm Lorenzo Oggiano Ethan Shaftel Sam Ireland Minsu Kim Clea T. Waite Shamees Aden Lauren Fenton Sam J. Bond WROcenter Group Uwe Sleytr Joanna Hoffmann Marie-Sarah Adenis Andre Bartetzki Hugo Kreit Capture the Future(s): Opening was organized as an inauguration act of the Art & Science Node initiative. The event comprised an exhibition and the ASN Forum. The forum, led by the ASN Chair – prof. dr hab. Joanna Hoffmann, gathered organization’s founding members and special guests. The exhibition was prepared as the presentation of the ASN selection of short films from the second BIO·FICTION Science Art & Film Festival (2014) and the additional, specially chosen artworks. Screening was a part of BIO·FICTION on Tour program. The festival was produced by Biofaction – a research and science communication company based in Vienna, Austria. Art & Science Node

CAPTURE THE FUTURE(S) ARTWORK PRESENTED AT THE EXHIBITION Luis dos Santos (P) | Future Now photography The photographic works presented herein try to motivate the viewer to depart from the standard norms in their respective area of action in order to reflect the future back into the present. In order to establish that cognitive association, the selection of photographs shown in this exhibition were captured at different architectural venues of the world as they can be seen today. However, this project forfeited a pure documentary approach in favour of an interpretation of what kind of living spaces could have been achieved, when reality is interpreted in the light of what we would like it to be. The process by which these photographs were created consists in the capture of several brackets using differente exposure times and to combine them together during post-production in a single coherent image that represented the author’s vision. Ethan Shaftel (USA) | Flesh Computer, 2013 film, 13:16 When his cybernetic pet project is put in jeopardy, the handyman of a decaying apartment building is forced to take a stand, blurring the lines between human and machine. Flesh Computer, a short film from writer/director Ethan Shaftel, explores the nature of consciousness by jumping between the perspectives of an eclectic group of characters including a young girl, a vicious bully, and a tiny housefly. Noted philosopher David Chalmers appears in the film and raises some fundamental questions of consciousness in counterpoint to the action. Also starring Rob Kerkovich (NCIS: New Orleans), Anthony Guerino, and introducing Elle Gabriel. Clea T. Waite (USA/DE) | The Spider Project, 2000 interspecies multi-channel video installation ©ctw 2000 Inspired by the turn of the millennium, The Spider Project is a research artwork that contemplates the basic cycles of nature: creation and death, time, the elements, and the workings of the universe. Concentrating on spirals and circles as the central motif, the images derive from the micro and macroscopes which epitomize our time. An inter-species collaboration with three-hundred Nephila senegalensis spiders, The Spider Project is a requiem for the XX Century, from the mastery of the atom to DDT to space travel, a preparation for rebirth into the XXI Century. ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

Projects 62 - 63 Clea T. Waite (USA/DE), Lauren Fenton (USA) | MetaBook: The Book of Luna, 2014 transmedia electronic assemblade ©ctw, 2014 – documentation MetaBook: The Book of Luna is an expanded cinema installation, an electronic Wunderkammer crossed with an illuminated manuscript that narrates a poetic essay about the Moon’s place in the historical imagination. The nature of love, madness, the unknown and our capacity for the sublime are amongst the passions that have crystallized around our only satellite. The MetaBook is an immersive experience that combines the dynamic possibilities of the digital archive with the intuitiveness of the book and the engagement of cinema inviting the reader to navigate between the lunar craters or just float between them in a constant orbit. WROcenter Group (PL) | On the Silver Globe for Méliès and Zygmunt Rytka, 2012 installation – object with an interactive projection, photography On the Silver Globe is an installation referring to the history of cinema and television, inspired by photographs by Zygmunt Rytka documenting the July 21, 1969 live TV broadcast from the first manned landing on the Moon. Georges Méliès’s visionary work Voyage to the Moon (Le Voyage dan la Lune) was also used in the installation: one of the earliest films of the sci-fi genre and a classic not only in terms of the cinema, but also – or perhaps above all – in the history of human imagination and aspirations. Méliès’s film lies solicitously guarded in archives, but is at the same time widely available on the internet in countless files. One such file, downloaded from the internet, has been used in this installation as a matrix of pixels capable of generating a live 3D picture. The film is a cultural icon downloaded from the internet, but is also modified via the internet by the viewers. This installation uses excerpts from Georges Méliès’s 1902 film Le Voyage dans la Lune and Zygmunt Rytka’s 1969 photographs. Joanna Hoffmann (USA/DE), Andre Bartetzky (DE) | Proteo, 2015 hologram-like animation Work prepared for the [micro]biologies II: πρωτεο / proteo exhibition at Art Laboratory Berlin (opening on January 23, 2015), presented i.a. at the exhibition Not invented by nature at BioQuant DKFZ Heidelberg and BIO·FICTION Festival in Vienna. Proteo is an animation in which a cloud of particles creates a mini-universe folded in the form of Calabi-Yau space. It gives birth to a convoluted protein molecule and its dynamic molecular dance of life, in a poetic way brings to mind a question about the relations between the energy, matter and form. The animation creates an effect of a hologram inside a transparent pyramid. It is a kind of virtual incubator, in which the process continues to develop and repeat itself. Art & Science Node

CAPTURE THE FUTURE(S) BIO·FICTION @ ASN BERLIN – SELECTED MOVIES Ursula Damm (DE) | The Outline of Paradise, 2012 film, 04:06 What would our cities look like if advertising messages are produced not from artificial lighting but from swarming midges, glowing like fireflies? Instead of being electronically controlled, ads could be flown and danced by swarms who have undergone special flight training. The Outline of Paradise explores the promises and capabilities of technoscience. This film explores the concept of sustainable luminosity – a new way of providing natural and sustainable light to our urban centers. Sam Ireland (UK) | Bacteria to the Future, 2014 film, 03:59 What if artificially intelligent bacteria could be connected to build communicating populations? Could we make bacterial computers? In this charming animation, Brian the Bacterium provides a possible answer. Shamees Aden, Sam J. Bond (UK) | Protocell Technology, 2012 film, 01:49 The study of protocells could dramatically change our understanding of the nature of materials. Protocells blur the gap between the non-living and the living, and can, therefore, when used as material, integrate the dynamic properties that living. Uwe Sleytr (AT) | A new way in Evolution, 2014 film, 03:41 Whereas retracing the evolution of life forms by using fossils has become increasingly possible, predicting the future development of living organisms is hardly conceivable, even more with the capacities synthetic biology brings towards the creation of entirely new species. This clip is an experimental piece, which explores an evolution that is sped up by synthetic biology, by utilizing sculptures which are presented as fossils from the future. While it tries to imagine the future of human development, the film also underlines that such an evolution is entirely unforeseeable. ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

Projects 64 - 65 Marie-Sarah Adenis & Hugo Kreit (FR) | Chlorotherapy, 2014 film, 03:58 Chlorotherapy explores a new type of utopian medicine based on a realistic technology: DNA transistors. Because access to care will become a major issue in the future, easy to access biotechnologies become highly interesting. Plants, historically related to the medical world, will be the ideal support of this exploration. Through genetic modifications, plants become able to diagnose diseases and to deliver appropriate therapeutic substances. The film offers sensual interpretations, which anchor synthetic biology in a reality that is compatible with the momentum of human life. Eric Schockmel (UK) | Macrostructure, 2013 film, 04:58 Inspired by science and video games, Macrostructure is the first episode in a micro-series entitled What If You Created Artificial Life And It Started Worshipping You. We are taken on a 3D animated journey through a world inhabited by synthetic life forms and the self-aware machines who manufacture, control and recycle them. Lorenzo Oggiano (UK) | Quasi-Objects/ Cinematic Environment #8, 2012 film, 04:32 Quasi-Objects is an on-going art project consisting of 3D generated videos and prints, a practice of organic re-design that aims to contribute to the debate of an up-coming postnatural ecosystem: life as something that is not exclusively located within a body, but rather immanent in any complex system, human or non-human. Minsu Kim (UK) | Living Food, 2013 film, 00:55 What if food were consumed alive, as a fictional character? What if food was able to play with our cutlery or create hyper-sensations in our mouth? In this film, dishes are living, moving, created things, beautiful and stomach- churning at the same time. Art & Science Node

CAPTURE THE FUTURE(S) ART & SCIENCE FORUM Louis Rigaud (FR) | Copy & Clone, 2010 film, 03:15 The development of biotechnologies will also lead to a fundamental change in industrial production. Copy and Clone discusses an extremely serious subject with a side order of humour: the animation displays the effects of biotechnologies on animal food industries through the window of a computer. What happens when the “copy and paste” commands of our devices step into real life? Art & Science Node provides a place for a debate and an open discussion over the numerous visions foreseen for our future. During the Opening event hosts, guests and public were discussing the special values of the synergy that can occur in the creative meetings of the researchers, artists and the public. Forum special guests Rob La Frenais, Dr curator, The Arts Catalysts, London (UK) Ingeborg Fullep, Ass. Prof. founder/dir. of Media Scape; University of Rijeka, Academy of Applied Art (APU); University of Applied Sciences, Berlin (HTW) Ralf Schäfer, Dr head of Image Processing & Interactive Media, Fraunhofer Heinrich Hertz Institute, Berlin (DE) Zofia Szweykowska–Kulińska, Prof. Dr hab. head the National Leading Science Centre, Poznań RNA Consortium (PL) head of the Institute of Molecular Biology and Biotechnology, Faculty of Biology UAM Poznań (PL) Artur Jarmołowski, Prof. dr hab.Institute of Molecular Biology and Biotechnology, Faculty of Biology UAM Poznań (PL) ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

Projects PROJECT’S ELEMENTS CAPTURE THE FUTURE(S): EVOLUTION I 66 - 67 Type: EXHIBTION + ART & SCIENCE FORUM Dates: 29.10.2015 – 14.01.2016 Location: Small Aula Gallery & CSA Gallery, Collegium Biologicum, UAM Poznań (PL) Artists: Jill Scott Description: Suzanne Anker Joanna Hoffmann Reiner Maria Matysik Katarzyna Hoffmann Art & Science Node organized Capture the Future(s): Evolution I event along with the Club for Science & Art in Poznań (PL). The exhibition and film series ran from October 29, 2015 until January 14, 2016 at the Small Aula Gallery & Club for Science & Art Gallery in the Collegium Biologicum of Adam Mickiewicz University (UAM) in Poznań. Attendees had the opportunity to engage with scientific debates and discussions at the opening and closing, an ongoing art & science film program, and an exhibition exploring various art & science themes. Art & Science Node

CAPTURE THE FUTURE(S) EXHIBITION: THE ART WORKS Jill Scott | Jellyeyes: Evolution and Vision An interpretive augmented reality (AR) artwork, made in collaboration with Dr Stephan Neuhauss: Neurobiology, University of Zürich, Dr. Lisa-Ann Girshwin, Australian Marine Stinger Advisory Services and Nikolas Völzow, Programmer at ZKM Karlsruhe and the AIL Production Studio. 24 eyes of the poisonous Australian box jellyfish and the large round eyes of one of our favorite foods, squid or calamari, this piece draws from a combination of scientific facts. The main aim of this work is to raise awareness about evolution and encourage more reflection by the public, through interactions with metaphorical narratives based on symbiosis, co-evolution, and completion. Jill Scott (Dr) is Professor for Art and Science Research at the Institute of Cultural Studies in the Arts, Zürich University of the Arts. She is also founder of the Artists-in-Labs Program, and Vice Director of the Z-Node PhD program on art and science at the University of Plymouth, UK. Her artwork spans 38 years of media art production about the human body, behavior, and body politics, and recently on neuroscience, ecology, and sensory perception. ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

68 - 69 Projects EXHIBITION: THE ARTWORK Suzanne Anker | Vanitas (in a Petri dish) Petri dishes, named after the German bacteriologist Julius Richard Petri (1852–1921), are the round, shallow glass vessels used variously in laboratories to grow bacteria, germinate plants, and view liquid samples under low-powered microscopes. For these photographs Suzanne Anker, whose multi-media works bridge the arts and sciences, fitted out Petri dishes with dense and seductive mini landscapes largely comprised of naturally occurring, but sometimes including man-made materials. Titled Vanitas and named after the genre of XVII century Dutch still life paintings that juxtaposed symbols of life and decay, this series exploits the flatness of photography to survey improbably seductive and miniature environments that Anker carefully created. The resulting images suggest natural cycles of life and death, speak to the manipulation of nature and the consequences of that, and remind us, too, that the term ‘petri dish’ is also used to describe hospitable arenas – like the science and the arts – where inquiry and new ideas can develop. Suzanne Anker is a pioneer in Bio Art, working at the intersection of art and the biological sciences. Chairing SVA’s Fine Arts Department in NYC since 2005, Ms. Anker continues to interweave traditional and experimental media in her department’s new digital initiative and the SVA Bio Art Laboratory. She works in a variety of mediums ranging from digital sculpture and installation to large-scale photography to plants grown by LED lights. Art & Science Node

CAPTURE THE FUTURE(S) Reiner Maria Matysik | Prototypes for Organisms Matysik’s work became well known particularly through his models of post-evolutionary organisms, which are situated between his vision of active evolution (evolution controlled by humans) and the future forms of living biological sculpture. The artist’s motivation in creating these prototypes of future organisms stems from his conviction that the rapid advances in modern molecular biology and genetic engineering will have dramatic consequences for the process of biological evolution, as well as for art, that can hardly be assessed at present. Reiner Maria Matysik is Berlin-based aritst. He studied fine arts at the Hochschule für Bildende Künste Braunschweig, Kunstakademie Düsseldorf, and at the Ateliers Arnhem in the Netherlands. In 2004, he directed the artistic development project Institute of Biological Sculpture at the HBK Braunschweig and worked as an Assistant Professor at the Institute of Visual Arts, Faculty of Architecture, Technical University Braunschweig. ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

70 - 71 Projects Katarzyna Hoffmann | Reconstruction Inspiration for this project was humanity’s constant need to discover and explore the world through impressive and surprising scientific discoveries, which includes at least a dozen newly discovered animal species every year. It returns to old biological drawings, and the internal physiques of bugs, fishes, and arachnids and confronts them with contemporary biological pictures created using advanced technologies, creating non-existent, hybrid, new species. The works were a kind of experiment based upon creation of species which could have been another stage of evolution, perfectly adjusted to constantly changing environmental conditions caused by human activity. Pictures are created to describe nature, using digital techniques that transcribe its primary structure to a digital code. A plant registered by a 3D scanner, which documents its structure, imperceptible to the human eye. The fragmentation of the plant and removal of its “shell” or “skin” allowed people to observe its internal side. In addition, it showed the technique’s inferiority in comparison to the nature’s perfection. Katarzyna Hoffmann (Tyburska), graduated from the University of Arts in Poznań with an MA in Art Education and Curatorial Studies (2015), as well as an MA in Photography (2016). She is an artist, photographer, curator, and was laureate of the Show Off competition of the Krakow Photomonth 2016, as well as of the competition Anthropocene: Progress & Catastrophy as part of the FLOW Festival World Water Day in Poznań 2015. Art & Science Node

CAPTURE THE FUTURE(S) Joanna Hoffmann | MicroR-evolution: Intrinsic Connections How is the evolution of space-time reflected in biological structures and their interactions? Which universal processes and geometries are hidden in “microscapes?” What perceptual tools do we have to apprehend them? In this series, an RNA molecule became a key for artistic investigations about structural emergence, alterability, and affinity in nature. The series involves short 3D stereoscopic animations and was developed in cooperation with Prof. Janusz Bujnicki, Genesilico Lab, ICMB Warsaw and KNOW Polish National Leading RNA Research Institute in Poznań. Joanna Hoffmann (Prof. Dr hab.) is Professor of the University of Arts in Poznań, where she leads the Studio for Transdisciplinary Projects & Research (AE/UAP). She is also co-founder and Chair of the Art & Science Node in Berlin. Her artistic works have been widely presented in Poland, Great Britan, USA, Germany and Japan. ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

Projects FILM PROGRAM A Capture the Future(s): Evolution I film program ran alongside the Capture the Future(s): Evolution I exhibition, featuring the following short films dealing with art/science topics. 72 - 73 Award-winning short sci-fi film Ethan Shaftel (USA) | Flesh Computer, 2013 Science Festival NYC, 2014 film, 13:16 Presented at BIO·FICTION Science Art & Film Festival, Vienna 2014 When his cybernetic pet project is put in jeopardy, the handyman of a decaying apartment building is forced to take a stand, blurring the lines between human and Presented at BIO·FICTION Science Art & Film machine. Flesh Computer, a short film from writer/ director Ethan Shaftel, explores Festival, Vienna 2014 the nature of consciousness by jumping between the perspectives of an eclectic group of characters including a young girl, a vicious bully, and a tiny housefly. Noted philosopher David Chalmers appears in the film and raises some fundamental questions of consciousness in counterpoint to the action. Also starring Rob Kerkovich (NCIS: New Orleans), Anthony Guerino, and introducing Elle Gabriel. Eric Schockmel (UK) | Macrostructure, 2013 film, 04:58 Inspired by science and video games, Macrostructure is the first episode in a micro-series entitled What If You Created Artificial Life And It Started Worshipping You. We are taken on a 3D animated journey through a world inhabited by synthetic life forms and the self-aware machines who manufacture, control, and recycle them. Uwe Sleytr (AT) | A new way in Evolution, 2014 film, 03:41 Whereas retracing the evolution of life forms by using fossils has become increasingly possible, predicting the future development of living organisms is hardly conceivable, even more with the capacities synthetic biology brings towards the creation of entirely new species. Video is an experimental piece, which explores an evolution that is sped up by synthetic biology, by utilizing sculptures presented as fossils from the future. While it tries to imagine the future of human development, the film underlines that evolution is entirely unforeseeable. Presented at BIO·FICTION Science Art & Film Lorenzo Oggiano (UK) | Quasi-Objects/ Cinematic Environment #8, 2012 Festival, Vienna 2014 film, 04:32 Quasi-Objects is an on-going art project consisting of 3D generated videos and prints, a practice of organic re-design that aims to contribute to the debate of an up-coming postnatural ecosystem: Life as something that is not exclusively located within a body, but rather immanent in any complex system, human or non-human. Art & Science Node

PROJECT TITLE: PROJECT SUBTITLE Matúš Vizár (CZ, SL) | Pandas, 2013 film, 11:30 After millions of generations pandas have a good chance of becoming another extinct species. But one day, an all too active primate called the human being found them and they became a pawn in man’s game. It is not the strongest of the species that survives, nor the most intelligent that survives. It is the one that is the most adaptable to change – Charles Darwin Award-winning film, Cinefondation Festival de Cannes, 2013 SCIENTIFIC TALKS AND PANEL During the Capture the Future(s): Evolution I opening events Art & Science Node organized and hosted a scientific discussion panel in co-operation with the Club for Science and Art, Poznań. Four presentations listed below were followed by a moderated discussion: Self-organization and the origin of life by Władysław Polcyn, Prof. Dr hab. Department of Plant Physiology, Faculty of Biology, UAM Poznań (PL) Mutations: The yin and yang of evolution by Jacek Radwan, Prof. Dr hab. Eovlutionary Biology Group, Faculty of Biology, UAM Poznań (PL) Life: In art, artificial, synthetic by Borys Wróbel, Prof. Dr hab. Evolutionary Systems Laboratory, Institute of Molecular Biology and Technology (PL) Modern Synthesis vs Extended Synthesis: Towards a New Paradigm Structure of Evolutionary Biology by Krzysztof Łastowski, Prof. Dr hab. Department of Logic and Cognitive Science, Institute of Psychology, UAM Poznań (PL) Discussion moderators: Zofia Szweykowska–Kulińska, Prof. Dr hab. Institute of Molecular Biology and Biotechnology, Faculty of Biology, UAM Poznań (PL) Artur Jarmołowski, Prof. Dr hab. Institute of Molecular Biology and Biotechnology, Faculty of Biology, UAM Poznań (PL) Joanna Hoffmann, Prof. Dr hab. Studio for Transdisciplinary Projects and Research, Faculty of Artistic Education and Curatorial Studies of the University of Arts (UAP), Poznań (PL) ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

Projects PROJECT’S ELEMENTS CAPTURE THE FUTURE(S): EVOLUTION II 74 - 75 Type: EXHIBTION + PANEL DISCUSSION + ART WORKSHOP Dates: 28.01. – 03.02.2017 (with opening, discussion & workshop on January 28, 2017) Location: German Patent and Trademark Office – Information & Service Centre Berlin (DE) Artists: Anna Anders (DE) Jill Scott (AU/CH) David Glowacki (USA/UK) Rafał Zapała (PL) Eran Hadas (IL) Joanna Hoffmann (PL) Vesna Petersin (SI/UK) Description: Capture the Future(s): Evolution II ‘Elusive Identity’ was a partner event of Transmediale 2017 Ditigal Culture Festival ‘Ever Elusive’. The event comprised the Elusive Identity exhibition combined with a panel discussion, and workshop. The new landscape of dynamic, post-digital reality raises questions regarding the coordinates of modern human identity. Is the elusive border of human and nonhuman a potential beginning of the brave new world? How can we navigate the fast-evolving future, while constantly redefining ourselves? Art and science together might provide potential directions. A panel discussion on Elusive Identity and artist-led workshops were organized in order to debate how some of the most outstanding, international researchers and artists attempt to capture our future, and how we can redefine evolution through intensely immersive and mind opening ways. Art & Science Node

CAPTURE THE FUTURE(S) ELUSIVE IDENTITY – PANEL DISCUSSION Introduction speakers: Joanna Hoffmann, (Chair of ASN, Prof. Dr, University of Arts in Poznań) Kersitn Piratzky (Head of IDZ Berlin – DPMA) Evolution text by Joanna Hoffmann Evolution is most often associated with complex biological processes that cause changes in the characteristics of entire groups of organisms following the course of generations. The result is the formation of biodiversity at all levels of biological organization, including species. The research on various aspects of evolution significantly Capture the Future(s): affects not only the biological sciences but also Evolution II other fields, i.e. anthropology, psychology, artificial intelligence research, IT and more. It changes the Elusive Identity or Ulusive Unicity? – perception of ourselves as a set of data, and our relation the keywords: to the natural, social and technological environment. In the age of growing Big Data and dark knowledge, new forms of categorization, of the multiplicity and richness of new scientific common basis, genetics & discoveries and philosophical concepts, what can we epigenetics, Big Data, socialization, say about the nature of human uniqueness and the dark knowledge, creativity versus future of humanity as the global population is growing self-control, mixed-strategy dramatically? equilibrium, replicator function, population growth, capitalization Let us focus on Elusive Identity: of identity, technological impact, oligopolization of knowledge, Identity. To identify yourself. To identify with something. “postfaktisch”, Internet, Being identified by others. Identifying others. Is there an secured identity. identity without identifying? Identification is feeling a part of something or someone. This feeling of belonging also brings forth a delimitation: that is not me, that does not belong to me. In order to be able to categorize yourself, others or to be categorized by others, a common basis is needed. The genetic code defines through its individual combination which species or sex we belong to, what we look like etc. In parts it even defines our emotions or our susceptibility to illnesses, and our tastes. We possess/ own our Data, our genetic identity through our parents, who give us one set of chromosomes each. The expression of our genes is also dependent on our environment, which affects our characteristic values through genetic modifications. The complexity of interactions between the various levels, that our identity is shaped on, affects an overall picture that eventually fuses to form an identity. However, this image is dynamic, thus defining identity in all its entirety seems an impossible undertaking. Nevertheless, we can try to illuminate some of its facets and find factors that influence its shaping. The evolutionary landscape of identity can be perceived in various ways, elusively? ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

76 - 77 Projects ELUSIVE IDENTITY – PANEL DISCUSSION 28 JAN 2017: THE PANELISTS’ VISIONS Discussion was moderated by Dr Lindsay Petley-Ragan David Glowacki – Dr, Royal Society Research Fellow, University of Bristol (UK) Perpetual change is amongst the only constants in our phenomenological experience. Over the past few decades, there has been a significant evolution across many fields of scientific enquiry. Workers have increasingly adopted a time-dependent dynamical perspective in their understanding of natural systems, which recognizes the fact that bodies are in continual motion, and that their motion is governed by a network of interactions. Any specific structural identity is in fact a transient snapshot within a larger dynamical unfolding. This new perspective constitutes an important development compared to older structural perspectives, which tended to emphasize and idealize the snapshots, without recognizing that they represent simply one particular instance along a larger unfolding. There is a sort of inherent relational tension between the dynamical and structural perspectives: the ability to accurately and unambiguously characterize dynamical unfolding involves noting difference with respect to a fixed structural reference point. Similarly, the ability to accurately and unambiguously isolate what constitutes identity (the qualities of being the same) depends on analysis of the unfolding constellation of differences. In a world where the pace of change (and hence our understanding of difference) across both time and space is accelerating at an unprecedented pace, it is perhaps no surprise that identity is asserting itself. Eran Hadas – artist, poet, programmer/ Tel-Aviv (IL) Over the course of the past five years, we encounter more and more decisions being made by machines, which were thought to be within the capability of solely humans. The advent of powerful algorithms combined with the massive collection of user-generated data by Hi-Tech corporations has led to unprecedented achievements in the field of Machine Learning, especially using Deep Neural Networks. Computers have minimized the gap from humans in various tasks such as computer vision, voice recognition and more. The striking fact about all those algorithms is that in fact they are all the same. Machine Learning is about collecting the data, formatting it in a computer-friendly way, and then training the system on it; fishing for patterns in order to generalize from examples (…). Faced with the need to explain our human identity to a non-human, we are undergoing a Reverse Turing Test, having to prove that we are human and not machines. However, we can also learn something about the shallowness of deep learning, and about the difficulty of an algorithm to capture the complexities of humanity just by generalizing from data. Joanna Hoffmann – ASN Chair, Prof. Dr, University of Arts in Poznań (PL) Key words: Big and Small Data, human identity, internet of minds, creativity How can we find and define accurately beyond biometric parameters our identity within our “infinitively big and infinitely small” (B. Pascal) universe of Big Data? In the 5th Century B.C. Pythagoras introduced the concept of the World Harmony merging micro and macro scales of our world. Which model of reality/ identity do we create today in the technology driven world, by the interface between Big and Small Data, when today’s Internet of things may turn into tomorrow’s Internet of minds? Art & Science Node

CAPTURE THE FUTURE(S) Foto: David Außerhofer Manfred Holler – Prof. Dr, Faculty of Economy and Social Studies, Hamburg University (DE) Will creativity converge? This “paper” contains a formal model which analysis the interrelationship of creativity, on the one hand, and self-control on the other. The relationship of these two dimensions specifying the selected identity is given by a matrix which represents an Inspection Game (IG). The analysis demonstrates that creativity, though constrained by self-control, does not necessarily converge to the mixed-strategy equilibrium (p*, q*) which characterizes IG. In fact, the measures of self-control and creativity (e.g., p and q, respectively) circle around (p*, q*). The underlying evolutionary process is described by simple replicator functions of the Malthusian type. The model produces a cyclical process with fixed amplitudes. The size of the amplitude depends on the initial conditions and external shocks. Creativity does not converge. Jonathan Jeschke – Prof. Dr, Freie Univeristaet, Institute of Biology; Ecological Novelty Research Group, Dark Knowledge Research Group/ Berlin (DE) Identity relates to what we know about ourselves and about others. In the era of Big Data, those analyzing such data know a lot about us, whereas we know little about them. The era of Big Data thus seems to lead to a concentration of knowledge: some people and organizations (e.g. Google, Facebook, Cambridge Analytica) know a lot, whereas the average knowledge of people in the public decreases rather than increases. Should we call this the oligopolization of knowledge? Those that know a lot seem to become increasingly interested in manipulating identities based on big-data analysis, e.g. for elections. Such manipulations further decrease public knowledge, thus they increase dark knowledge. At the beginning of the era of Big Data, we were optimistic about the possibilities this era offers. Now, however, the international word of the year is post-truth (the German word of the year “postfaktisch”), and the public does not really seem to benefit from Big Data. Is there a way out? Ralf Schäfer – Dr, Head of Video Division, Chairman 3IT, Frauenhofer Institute Berlin (DE) We have involved in the topic of Identity, but more in a technical sense than in a philosophical sense. Identity is gaining more and more importance, because we need to identify ourselves for all kind of electronic transactions (e.g. communication, e-banking), to protect our private data (e.g. e-health) or for entering certain spaces (e.g. offices, labs, security areas). In this sense, we work on technologies to identify people. Our work is related to video technology in order to enable the recognition of people even under severe conditions (e.g. lighting, viewing angles). We are even partner in a Berlin-based network “Sichere Identität Berlin-Brandenburg”. Special guestes Zofia Szweykowska–Kulińska, Prof. Dr hab., Institute of Molecular Biology and Biotechnology, Faculty of Biology, UAM Poznań (PL) Artur Jarmołowski, Prof. Dr hab., Institute of Molecular Biology and Biotechnology, Faculty of Biology, UAM Poznań (PL) Eliza Wyszko, Prof. Dr hab., Institute of Bioorganic Chemistry, Polish Academy of Sciences, Polish Academy of Sciences (PL) ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

78 - 79 Projects EXHIBITION: THE ARTWORK Anna Anders | Under Cover video installation, 2011 In a dark space, an illuminated pile of white fabric lies on the floor. Under the fabric, a strange creature seems to be constantly moving around. One can hear the rustling of the cloth and observe how the bundle repeatedly reforms. The viewer can barely recognize whether the shadows and folds are real or projected. Old fears from childhood arouse. Normally, Anna Anders’ video works include actors in very colourful settings. Yet this group of works renounce color and direct illustration. Hardly anything can be seen anymore; it can only be imagined. This formal reduction and elementary nature provoke our imaginations – and can elicit a very uncanny feeling. Anna Anders has worked with video since 1986. Her films and installations were shown in numerous festivals, exhibitions and art fairs worldwide. She graduated at the Academy of Fine Arts Munich and 1995 she completed a postgraduate study at the Academy of Media Arts Cologne (KHM). From 1997 until 2001 she was an assistant professor at the Academy of Media Arts Cologne. Art & Science Node

CAPTURE THE FUTURE(S) Two pictures on the left present screenshots fromthe video taken from http://eranhadas.com/ frankie-robot/ Eran Hadas | Frankie, in collaboration with Maayan Sheleff and Gal Eshel documentary robot, 2013 Documenting human identity – Frankie is a documentary robot that interviews people while attempting to learn what it means to be human. It responds to certain emotions both with language and eye/ camera movements, creating computer generated, emotion inspired videos. The videos are uploaded to a website, forming an archive of the robot’s research. Faced with the need to explain our human identity to a non-human, we are undergoing a Reverse Turing Test, having to prove that we are human and not machines. However, we can also learn something about the shallowness of deep learning, and about the difficulty of an algorithm to capture the complexities of humanity just by generalizing from data. Eran Hadas is an Israeli poet, software developer, new media artist and the author of seven books. Hadas also creates hypermedia poetry and develops software based poetry generators. Among his collaborative projects is a headset that generates poems from EEG brain waves, and a documentarian robot that interviews people about what it means to be human. ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

Projects 80 - 81 Jill Scott | Jellyeyes: Evolution and Vision Joanna Hoffmann | Tones & Whispers, with soundscape by Dave Lawrence interactive art – the mobile phone version, 2016 3 channel multimedia installation, 2005 (documentation) The piece recalls Pythagorean concept of the mathematical Jellyeyes is a combination of interactive art, ecology and Harmony of the World, acknowledged as the most influential neuroscience. It is an augmented reality experience that and beautiful thought born by the human mind. The idea of gives viewers an insight into the evolution of our human eyes consonant relations between Musica Mundana (Music of Spheres) and our relationship to the eyes of the Australian box jellyfish and Musica Humana (Music of the human body and soul) has and the squid (calamari). Jellyeyes provides immersive inspired generations of both scientists and artists trying to define interactions with co-evolution, structural evolution and the elusive and transient human identity in face of the infinitude comparative evolution. The iPhone camera sees of the Cosmos and its universal laws. Today, when the existential a photograph of the Barrier Reef in real time and the viewer emptiness is being filled up with the vague cloud of Big Data can explore words, images, films and sounds to reflect upon and knowledge, Pythagorean dream does not lose its actuality. the evolution of vision and how it is related to symbiosis, Still, the updated version of Music of Sphere, with vibrating tones movement, survival and the environment. But two other reflecting the movement of planets around the Sun, opens the characters also swim in the same sea: the unaware tourist sonic essay on the Golden Record carried by spaceships Voyager I (or hunter) and the evolutionary biologist (or collector). & II on their inter-galaxy journey. These vibrations, containing data We are much closer to sea animals than we imagine but of milliards years of existence indicate not only our position in the what kind of affect is our behavior having on them? Space, but also our elusive, creative and ever-evolving identity. With special thanks to Barbara Buchholtz (theremin), dr Lauren Stewart Jill Scott and Marille Hahne, AIL Productions. Programming: Functional Imaging Laboratory, London University & European South Nikolaus Volzow, Animation; Natascha Jankovski, With special Observatory, NSSDC. thanks to the Film School Munich, Funded by Pro Helvetia, The Swiss Arts Council. Joanna Hoffmann (Prof. Dr hab.) is Professor of the University of Arts in Poznań, where she leads the Studio for Transdisciplinary Projects & Jill Scott (Dr) is Professor for Art and Science Research at the Institute Research (AE/UAP). She is also co-founder and Chair of the Art & Science of Cultural Studies in the Arts, Zürich University of the Arts. She is also Node in Berlin. Her artistic works have been widely presented in Poland, founder of the Artists-in-Labs Program, and Vice Director of the Z-Node Great Britan, USA, Germany and Japan. PhD program on art and science at the University of Plymouth, UK. Her artwork spans 38 years of media art production about the human body, behavior, and body politics, and recently on neuroscience, ecology, and sensory perception. Art & Science Node

CAPTURE THE FUTURE(S) David Glowacki | MICRO-CHOREOGRAPHY, in colaboration with Becca Rose VR environment, 2016 The entire cosmos, at every level of organization, is in perpetual motion. Life itself emerges from the micro- choreography of invisible building blocks. (...) The perpetually chaotic motion of atomic and molecular bodies arises from the fact that any given atom is embedded in a network of complex interactions. The motion of any given atom depends on (and simultaneously influences) the motion of every other atom in the system. The “Micro-Choreography” art installation, which will premier as part of Transmediale, utilizes the latest advances in scientific computing, real-time simulation, digital aesthetics, and virtual reality to embed participants in a world where they can interact with the dynamical choreography of the microscopic world. This installation provides a unique glimpse into the dynamics of the microscopic nano-world which is taking place around us all the time, but which is too small for our eyes to see. It also offers a glimpse into the fact that our phenomenological lived experience, which depends on nano- architectures, is in fact intertwined with a larger microscopic dynamical unfolding. Dr David Glowacki is a renowned scientist, digital artist and cultural theorist who holds a PhD in physical chemistry. He is a Royal Scociety Research Fellow at the University of Bristol where he leads an eclectic research group between the Centre for Computational Chemistry and the Department of Computer Science. Becca Rose is artist, designer and educator based in Bristol, UK. She makes playful work at the intersection of folk-art, storytelling, and creative-technology. She also designs and facilitates creative learning experiences. Becca has an MA in Design from Goldsmiths College, University of London. ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

82 - 83 Projects Rafał Zapała | Emotiondistortion interactive sound installation, 2017 So there is no good or bad feelings, there’s only an arousal’s level and interpretation ... Emotion is a disruption [...] meditate to be/have a stable posthuman state ... Relax – mind is a muscle AN EMOTION DISTORTS A MESSAGE, AN EMOTION IS A BLURRING B****! (anonymous ineternet quotations) The installation is a unipersonal instrument driven by data acquired from the body of the user: the registration of the voice and EEG of the brain. The emotional tensions interfere and transform the sound. The user can control these processes to achieve a post-human “clear message”. Dr Rafal Zapala is Ass. Prof. at Composition Dept. and SMEAMuz, Academy of Music in Poznań. His music was presented at contemporary music festivals, jazz clubs, experimental music venues and open, public spaces. Artist-in-residence at Stanford University–CCRMA, Culture Center “Zamek”, Świętokrzyska Philharmonic, ZK/U Berlin and other. Art & Science Node

CAPTURE THE FUTURE(S) Vesna Petresin | The Dreams Our Thing Are Made of interactive multimedia performance, documentation [premiere: BEYOND Festival; October 1, 2016 @ ZKM Karlsruhe] In natural systems, structures emerge as transitory states at all scales, evolve under the influence of force fields and adjust their behaviour to accommodate changes; form can be described as dynamic totality of energies under transformation. Current cultural condition dictates a similar state of flux: the sense of self and identities are shifting, and the boundaries between the public and personal, between matter and media, have been blurred. By creating a new interface between the self, the other and the world beyond, information technology takes part in constructing and controlling our reality. The virtual generates a proto-psychotic immersion into an imaginary universe, which is unconstrained by reality. But while reality may be an artifice – a projection of our minds, ambiguity may be an instrument of revealing its illusory, ever-shifting nature. Our bodies, however, are made of the same particles as the known universe. Credits: Text, narration, soundtrack composition and performance, film directing, interaction for live performance: Vesna Petresin; Soundtrack composition, sound production: Nick Trepka; Film: Rubedo, Factory Fifteen; Camera: Frank Gessner; Film editing and post-production: Jonas Piroth. Dr. Vesna Petresin (born in Ljubljana, works and lives in London and Berlin) is a transdisciplinary artist and thinker. She has a practice as a time-architect, composing and performing with sound, light, rhythm, space, movement, text and code. She has exhibited and performed at Tate Modern, ArtBasel Miami, Royal Festival Hall, Royal Academy of Arts, Venice Biennale, Cannes International Film Festival & other art institutions worldwide. ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

84 - 85 Projects CAPTURE THE FUTURE(S): EVOLUTION II – WORKSHOP Workshop with Dr David Glowacki, Dr. Basile Curchod and Becca Rose As part of Micro-choreography installation’s premiere at Elusive Identity artists Becca Rose, Dr Basile Curchod and Dr David Glowacki have led a workshop exploring how our experiences of constructing tangible physical knots and tangles can inform our attempts to construct virtual molecular knots and tangles. In so doing, Art & Science Node aimed to explore questions of how object’s identity transfers from the physical to the virtual. Micro-choreography – workshop The workshop was part of the Capture the Future(s): Evolution II – Elusive Identity exhibition, made in course of Transmediale 2017 Festival. Art & Science Node

Capture the Future(s): Evolution II – Elusive Identity CAPTURE THE FUTURE(S): EVOLUTION II Photos from the event led on January 28, 2017 at German Patent & Trademark Office – Information & Ser vice Centre Berlin. ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY CAPTURE THE FUTURE(S)



CAPTURE THE FUTURE(S) Capture the Future(s): OUR BIO-TECH PLANET The Routes to the Root Networks and Beyond ORGANIZER We turn to the roots and networks Art & Science Node In the face of threats and challenges of the age of the Anthropocene, World Bio Markets we turn to the roots – not only the metaphorical ones, but, above all, the incredibly effective and durable plant root-systems that have PARTNERS evolved over millions of years. CHIC Consortium Horizon 2020 How can we use the wise knowledge “from the roots” to improve the Studio for Transdisciplinary Projects and Research quality of our shared community life, and wisely head towards what at Faculty of Artistic Education and Curatorial we want to become, towards the world in which we want to live? Studies of the University of Arts (UAP), Poznań Faculty of Biology of the Adam Mickiewicz The exhibition involves interdisciplinary conversations, which aim University (UAM), Poznań to raise awareness of the environmental and socio-political issues Laboratory of Biotic Iteractions, Poznań of our time. In this mutual exchange, artists were inspired and motivated by the scientific research related to sustainable solutions in bio development, genetic engineering, ecology, etc. In their turn, scientists, bioengineers and stakeholders in the bio-economy can engage in a productive dialogue with creative people that promotes the visibility of their projects. The exhibition comprise two interdisciplinary ASSET projects – Rhizosphere: The Big Network of the Small Worlds and CHIC, providing an international survey of artworks created by renowned as well as emerging artists in collaboration with scientists in the field of life sciences and biotechnology. SUPPORT Adam Mickiewicz Institute, Poland Schweizer Kulturstiftung Prohelvetia ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

88 - 89 Projects Art exhibition curated by Art & Science Node CAPTURE THE FUTURE(S): our BIO-TECH PLANET The routes to root networks and beyond CHIC & Rhizosphere The aim of the exhibition is to bring together the world of art and the world of innovation: universities, research institutes and industries at this global event, providing an extraordinary perspective to the bio- economy key-players and stakeholders at the “World Bio Markets 2020” under the leadership of “Bio Market Insights” in Amsterdam, NL. The exhibition is organised by Art & Science Node with partners for presenting the scientific research and creativity which govern the bio-revolution by means of an art exhibition. Art & Science Synergy Foundation / Art & Science Node (ASN) is a non-profit organisation and a platform to promote multidisciplinary projects offering institutions and organisations a powerful, innovative communication strategy through Art & Science. ASN has been sharing knowledge, ideas and experiences, based on our interdisciplinary ASSET vision: Art/Science/Society/Education/Technology = Innovation. Art & Science Node

ASSET = ART, SCIENCE, SOCIETY, EDUCATION, TECHNOLOGY

Morphism (still) animation, 2:20, 2019

MARTA BĄCZYK MORPHISM animation, 2:20 While experimenting with overlapping silhouettes created by re-drawing the figures taken from the photos of people close to her, artist noted the biomorphic potential of the emerging work. In the final outcome, the translucent and spacious character of the multiple layers merged by the use of tracing paper generated a sense of smooth, interchangeable transformations, that can be referred to both physical and metaphorical realities; and to the relationship we build with nature. The work presented in a way to build a visual analogy with microscopic studies, revealed the network construct of the social relations. It was followed by the reflection on the interdependence between the visible and hidden realms; societies and systems; nature and technology. Morphism (stills) animation, 2:20, 2019 Marta Bączyk student at the Faculty of Art Education and Curatorial Studies at the University of the Arts in Poznań. She works with an interdisciplinary approach, binding the narrations derived from the human society and natural environment, in order to better convey the complex sense of human experience. She constructs her works from existing situations, fragments of everyday life and man-made products, turning them into a deformed version of the reality.

Anna Dumitriu in Anna Dumitriu & Alex May (in collaboration with the EU CHIC Project) collaboration with Robert Stills from a video presenting the ongoing process of 3D scanning of the chicory plant. The two pictures at the top present printscreens from the 3D scans. Sevenier CRISPR transfected Chicory protoplasts with GAS gene knockout experiments at Keygene Laboratory.

ANNA DUMITRIU & ALEX MAY BIOTECHNOLOGY FROM THE BLUE FLOWER movie & interactive installation – project documentation (work in progress, to be published in 2022) Through an ongoing artists’ residency Anna Dumitriu and Alex May are exploring cutting edge contemporary research being undertaken by the CHIC Consortium, especially the potential future benefits of working with new plant breeding methods techniques such as CRISPR to provide future healthcare and food security. In their work so far they have focussed on the internal and external morphology of the plants as well as the cultural impacts of the plants throughout history, as an ancient remedy and a natural dye, to a coffee additive in times of crisis. Chicory was one of the plants (along with the cornflower) that inspired the idea of the Blue Flower in German Romanticism – a central symbol of the movement. The movement was in part a reaction to the industrial revolution and held nature and emotion in high esteem. In our current biotechnological revolution, the idea of the Blue Flower will become an important symbol again, but this time in a more complex position at the interface of nature and technology. Central to societal explorations of what may be acceptable in terms of synthetic biology and how ‘nature’ and ‘natural’ may be defined in the future. The artists are focussing on the areas of the use of chicory for dietary fibre and its impact on human health and the human microbiome, antibiotics, and the uses of inulin and medicinal terpenes extracted from Cichorium intybus (common chicory). They are working with the plants themselves: the roots, the flowers, and the seeds, as well as chicory flour, chicory inulin and terpenes, and other relics of the research process. These sculptural, physical materials are combined with 3D data and video footage to create the installation. Artwork made as the element of the Chic Inovative Consortium Horizon 2020 This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 760891 Anna Dumitriu British artist working with BioArt, sculpture, installation & digital media to explore our relationship to infectious diseases, synthetic biology and robotics. She has an extensive international exhibition profile including ZKM, Ars Electronica, BOZAR, The Picasso Museum, The V&A Museum Philadelphia Science Center, The Museum of Contemporary Art Taipei LABoral, Art Laboratory Berlin, and The Museum of the History of Science. She was the 2018 President of the Science and the Arts section of the British Science Association. Her work is held in several major public collections. www.annadumitriu.co.uk Alex May British contemporary artist whose practice forges links between art, science, and technology through a wide range of digital new media, including virtual reality, photogrammetry, algorithmic photography, robotic artworks, video projection mapping, interactive installations, generative works, performance, and video and sound art. His international exhibition profile includes Tate Modern, Ars Electronica, the Francis Crick Institute, LABoral (Spain), the Victoria & Albert Museum, Royal Academy of Art, ZHI Art Museum (China), and other renowned institutions. www.alexmayarts.co.uk

EpiZone [NULL]: PapiLLa (still) immersive, multisensory VR environment EpiZone [NULL]: PapiLLa (still) immersive, multisensory VR environment

JOANNA HOFMANN (WITH SOUNDSCAPE BY ANDRE BARTETZKI) EPIZONE [NULL]: PAPILLA immersive, multisensory VR environment What will happen when the Internet of Everything will turn into the Internet of Minds? EpiZone [NULL]: PapiLLa refers to the transformation of human identity in a world where organic and inorganic systems will merge into a new hybrid whole. Inspired by symbiotic natural systems of Wood Wide Web, the multi-sensual poetic narrative of EpiZone[NULL]: PapiLLa immerses the viewer in a complex, multi-dimensional semi-biological information network, in which the boundaries between micro and macro systems, between “internal” and “external” data processing are blurred. The piece is an immersive installation combining Virtual Reality technologies with a sensory environment. The title refers to biological nodular formations often associated with the senses of touch, taste or smell, as well as to the organs of symbiosis between plants and bacteria produced by plants on their roots. PapiLLa It is a fractal of a virtual symbiote-system (EpiMimesis) It is its sensory organ, a hybrid space in which the viewer’s feelings and imagination co-create the invigorating thread of sympoiesis. The elusive threads of internal creation, such as the invasive threads of Rhizobium, connect PapiLLa with a structure devoid of spatial and temporal boundaries. Joanna Hofmann Professor of the University of Arts in Poznań, leader of the Studio for Transdisciplinary Projects & Research (AE/UAP). She is also co-founder and Chair of the Art & Science Node in Berlin. Her artistic works have been widely presented in venues such as: the Center for Contemporary Arts in Warsaw; the Science Museum/DANA Centre and MOCA Museum of Contemporary Art in London; the Transmediale Festival and European Patent Office in Berlin; the WRO Media Art Biennale in Wrocław; MUSE Centre of Photography and the Moving Image in New York; the BioQuant Centre in Heidelberg; and the Hiroshima City Museum in Japan. Andre Bartetzki German composer, sound designer and sound engineer, living in Berlin. Author of the renowned software CMask for algorithmic composition. Collaborated with many ensembles and composers of new music around the world. Presented his own compositions at many international festivals including BIMESP São Paulo, SICMF Seoul, SuperCollider Symposium Birmingham/Berlin/London. Andre Bartetzki studied sound engineering at the Musikhochschule “Hanns Eisler” in Berlin. He founded and headed the Studio for Electroacoustic Music there until 2002. From 1999 to 2004 Andre also taught at the media faculty of the Bauhaus University in Weimar and at the Musikhochschule.

The Law of Relationship and Interdependence performance documentation

MAŁGORZATA KACZMAREK THE LAW OF RELATIONSHIP AND INTERDEPENDENCE performance (photo documentation), 2017 The Law of Relationship and Interdependence – Everything in the universe is connected, it results from each other, it is a process. The law of relationship and interdependence was a performance inspired by discussions with biologists; reflection on the problem of the interdependence of man and plant at a time when one is strictly dependent on the other. The idea behind the performance is to emphasize the relationship between man and plant – man provides the plant with heat, moisture and carbon dioxide from his body, while the plant gives man oxygen, thanks to which man can breathe. Małgorzata Kaczmarek student at the Studio for Transdisciplinary Project and Research, at the Faculty of Art Education and Curatorial Studies at the University of the Arts in Poznań. She feels best in spatial, social and performative projects, as well as those bordering on science and art. In her works, she tries to refer to the loss and powerlessness understood both at the level of social situations, as well as incomprehension or confusion in relation to scientific and para-scientific issues. For two years, she has been working with researchers from the Faculty of Biology of the Adam Mickiewicz University in Poznań, so that she can speak about humanities through the language of science and about scientific problems through the language of art.

Urbes #10-16 Regnum vitrum #1 photography, 2020 photography, 2020 insect farms tropical animals and plants farms

LARYS ŁUBOWICKI REGNUM ANIMALE photographic series, 2020 A series of photographs depicting terrariums and museum dioramas is a question about the definition of “natural environment” in the modern world. Naturalness remains an idea that arouses longing. At the same time, it is an unreachable longing. Did we not condemn ourselves to a postnatural age? For a life in fact limited by the glass of the terrarium, filled with objects and ideas that only resemble a lost paradise. Regnum vitae #1 photography – exhibition view, 2020 scientific collection of the specimen Larys Lubowicki medical doctor, avisual artist & photograph. W swojej twórczości porusza zagadnienia percepcji świata materialnego, cielesności, śmierci oraz mitologie dotyczące świata zwierząt. Interesują go błędy poznawcze, towaryszące wspomnianym kwestiom oraz przesunięcie między rzeczywistością, a ludzkim wyobrażeniem.

Algorithmic Photography photos