Routledge Handbook of Art Science and Technology Studies

<p>Art and science work is experiencing a dramatic rise coincident with burgeoning Science and Technology Studies (STS) interest in this area. Science has played the role of muse for the arts, inspiring imaginative reconfigurations of scientific themes and exploring their cultural resonance. Conversely, the arts are often deployed in the service of science communication, illustration, and popularization. STS scholars have sought to resist the instrumentalization of the arts by the sciences, emphasizing studies of theories and practices across disciplines and the distinctive and complementary contributions of each. The manifestation of this commonality of creative and epistemic practices is the emergence of Art, Science, and Technology Studies (ASTS) as the interdisciplinary exploration of art–science.<br><br>This handbook defines the modes, practices, crucial literature, and research interests of this emerging field. It explores the questions, methodologies, and theoretical implications of scholarship and practice that arise at the intersection of art and STS. Further, ASTS demonstrates how the arts are intervening in STS. Drawing on methods and concepts derived from STS and allied fields including visual studies, performance studies, design studies, science communication, and aesthetics and the knowledge of practicing artists and curators, ASTS is predicated on the capacity to see both art and science as constructions of human knowledge- making. Accordingly, it posits a new analytical vernacular, enabling new ways of seeing, understanding, and thinking critically about the world.<br><br>This handbook provides scholars and practitioners already familiar with the themes and tensions of art–science with a means of connecting across disciplines. It proposes organizing principles for thinking about art–science across the sciences, social sciences, humanities, and arts. Encounters with art and science become meaningful in relation to practices and materials manifest as perceptual habits, background knowledge, and cultural norms. As the chapters in this handbook demonstrate, a variety of STS tools can be brought to bear on art–science so that systematic research can be conducted on this unique set of knowledge-making practices.</p> <p>Foreword by Trevor Pinch</p><p>Foreword by Caroline A. Jones</p><p>Introduction: The past, present, and future of Art, Science, and Technology Studies</p><p>Hannah Star Rogers and Megan K. Halpern</p><p>Section 1: Constructing borders and borders at the intersections of art and science</p><p>Hannah Star Rogers</p><p>1. What counts as data and for whom? The role of the modest witness in art-science collaboration</p><p>Silvia Casini</p><p>2. What can science and technology studies learn from art and design? Reflections on ‘Synthetic Aesthetics’</p><p>Jane Calvert and Pablo Schyfter</p><p>3. The skin of a living thought: art, science, and STS in Practice</p><p>Hanna Rose Shell</p><p>4. Aesthetic strategies for engaging with environmental governance</p><p>Christian Nold and Karolina Sobecka</p><p>Section 2: Making multidisciplinary histories</p><p>Hannah Star Rogers</p><p>5. The art-science complex</p><p>Chris Salter</p><p>6. Infrastructural inversions in sound art and STS</p><p>Owen Marshall</p><p>7. Emotion, affect and participation: why science communication practitioners should embrace a feminist ethics of care in their work</p><p>Britt Wray</p><p>8. Robert Hooke’s <i>Micrographia</i>: a historical guide to navigating contemporary images</p><p>Nina Sellars</p><p>9. The <i>Xenopu</i>s pregnancy test: a performative experiment</p><p>Eben K. Irksey, Dehlia Hannah, Charlie Lotterman, Lisa Jean Moore</p><p>Section 3: Methods and modes</p><p>Megan K. Halpern</p><p>10. Doing research by means of art</p><p>Regula Valérie Burri</p><p>11. More than human trading zones in design research and pedagogy </p><p>Laura Forlano and Carla Sedini</p><p>12. Discovering alternative technological futures through literature</p><p>Jennifer L. Lieberman</p><p>13. <i>Art’s Work in the Age of Biotechnology</i>: how art can make arguments in science and technology studies </p><p>Hannah Star Rogers</p><p>14. Recipes for Technoutopia: on hospitality and infrastructure as experimental performance</p><p>Stephanie Beth Steinhardt</p><p>15. Reflexivity practiced daily: theatricality in the performative doing of STS</p><p>Yelena Gluzman</p><p>Section 4: Collaborations and collisions in art-science</p><p>Megan K. Halpern</p><p>16. Trading between science and art worlds: from biology laboratory to art exhibition</p><p>Nora S. Vaage</p><p>17. Art, artists, and the wrong kind of science education</p><p>Kathryn de Ridder-Vignone</p><p>18. Negotiations and love songs: integration, fairness, and balance in an art-science collaboration</p><p>Megan K. Halpern</p><p>19. Transdisciplinary co-inquiry as curatorial methodology: from the Canadian Arctic to the Calder Valley, Yorkshire</p><p>Nicola Triscott and Anna Santomauro</p><p>Section 5: Institutions and infrastructures</p><p>Kathryn de Ridder-Vignone</p><p>20. ArtSciLab: experimental publishing and knowledge production in collaborative transdisciplinary practices</p><p>Alex Garcia Topete, Chaz Lilly, Cassini Nazir and Roger F. Malina</p><p>21. Polymathic pedagogies: creating the conditions for interdisciplinary enquiry in art and science</p><p>Heather Barnett, Nathan Cohen and Adrian Holme</p><p>22. The future of arts integrative work: creating new avenues for advancing and expanding the field</p><p>Edgar Cardenas, Sandra Rodegher, and Kevin Hamilton</p><p>23. Feasting the Lab and other projects: art and science that skirts the limits of institutional frameworks </p><p>Jennifer Willet</p><p>Section 6: Democracy and activism</p><p>Hannah Star Rogers</p><p>24. We're all living in an Estroworld</p><p>Mary Maggic</p><p>25. Rustbelt Theater and citizen science: children’s environmental justice narratives</p><p>Lissette Lorenz</p><p>26. Artificial intelligence experience: participatory art workshops to explore AI imaginaries </p><p>Christopher Wood</p><p>27. Human germline gene editing is bioart: <i>an open letter to Lulu and Nana</i></p><p>Adam Zaretsky</p><p>Section 7: Art as partner and critic</p><p>Hannah Star Rogers</p><p>28. The power of generative critique in art-energy projects</p><p>Lea Schick </p><p>29.<i> Hemlock Hospice</i>: landscape ecology, art, and design as science communication</p><p>Aaron M. Ellison and David Buckley Borden</p><p>30. Horizons of engagement: infrastructures of art and scholarship</p><p>Alexandra Lakind, Nicole Bennett and Robert Lundberg</p><p>31. Big pigs, small wings: on genohype and artistic autonomy</p><p>Ionat Zurr and Oron Catts </p><p>Section 8: Exposure to the elements</p><p>Dehlia Hannah</p><p>32. In the Middle of Something: in Search of Meso-Aesthetics </p><p>Andrew S. Yang</p><p>33. Curating in-between systems: Politics, ecology, and art</p><p>Stefanie Hessler</p><p>34. The future now: three tales of ocean plastic </p><p>Heather Davis</p><p>35. Becoming disaster literate: reflections on <i>X AND BEYOND</i> (2015-2017)</p><p>Jacob Lillemose</p><p>36. An Anthropocene journey: walking as embodied research</p><p>Nick Shepherd and Christian Ernsten</p><p>37.<i> </i>As we used to float: within Bikini Atoll</p><p>Nadim Samman and Julian Charrière</p><p>Section 9: Atmospherics</p><p>Dehlia Hannah</p><p>38. Archiving Atmosphere</p><p>James Graham</p><p>39. Becoming tornadic: a meteorology of media</p><p>Brett Zehner</p><p>40. Environ/mental ecologies in new media art </p><p>Anne Sophie Witzke and Jonas Fritsch</p><p>41. Changing imaginaries and new technoecologies of urban air</p><p>Hanna Husberg and Agáta Marzecová</p><p>42. Variations on Air</p><p>Anne Sophie Witzke and Dehlia Hannah</p><p>Section 10: The Gallery</p><p>Hannah Rogers</p><p>Designer: Molly Renda</p>