On the crossroads of Art and Science
First seminar
Dr. Nicholas Eastaugh
Art, Analysis & Research (AA&R), UK
The Matter of Art: Using Science
to Reveal the Secrets of Paintings

Dr. Nicholas Eastaugh is a physicist and art historian. He holds a PhD in scientific analysis and documentary research of historical pigments from the Courtauld Institute of Art, London. Since 1989 he has been a consultant in the scientific and art technological study of paint and paintings. A frequent lecturer, he is also a Visiting Research Fellow at the University of Oxford. In 1999 he co-founded the Pigmentum Project, an interdisciplinary research group developing comprehensive high-quality documentary and analytical data on historical pigments and other artists' materials. He is also Founder of Art Analysis and Research, a company specializing in high-level expertise in scientific examination and technical art history of paintings.
Claudia Lastra
Arts Catalyst, Centre for Art,
Science & Technology, UK

Sites, situations and incidents
Claudia Lastra is a Head of Programme at Arts Catalyst, Centre for Art, Science and Technology. She has a background in Fine Art (John Moore University, Liverpool) and Material and Visual Culture in Anthropology (University College London). At Arts Catalyst, she curates, produces exhibitions and programmes public events. She leads on curating public participatory programmes and partnerships at arts Catalysts Centre in London and Nationally. Most recently she curated and produced a long-term project Wrecked on the Intertidal Zone basedin Southend Essex, in collaboration with artists YoHa, Critical Art Ensemble, Andy Freeman and Fran Gallardo.
In the Search of Reality:
Instruments and Methods
Second seminar
Dr. Hans Bjelkhagen
Prof. Emeritus of Interferential Imaging Sciences, at Glyndŵr University, Centre for Modern Optics (CMO), located in North Wales, UK
Museum documentation: Holographic OptoClones & Digital Holography
Dr. Hans Bjelkhagen was awarded his Doctoral Degree in 1978 by the Royal Institute of Technology in Stockholm, Sweden. His most important academic contribution is a book on Silver-Halide Recording Materials for Holography and Their Processing published by Springer. His most recent book; Ultra-Realistic Imaging, co-authored with David Brotherton Ratcliffe, was published in 2013 by CRC Press. Bjelkhagen is a member of the Optical Society of America (OSA) and a fellow of the International Society for Optical Engineering (SPIE).
Dmitry Bulatov
Artist, Researcher, Curator, Baltic Branch of the National Contemporary Art Centre (Kaliningrag, Russia)
Science Art: Art on the Edge of Science
The ambition of modern science to learn, and in doing so, to overcome a number of natural principles makes us think about famous quotation of Goethe "stirb und werde" — die and become, cross and be. Stated in modern language it is about an effort to overwhelm postbiological "personology" (in other words infinitely deep interlacement of living and non-living, artificial and natural etc.), which is, famously, humanity tries to understand. Paying attention to artworks, made with the usage of new technologies of XXI century — robotechnics, IT, biomedicine — Dmitry Bulatov tries to figure out what lies in the heart of "artificial", "technological" reality engagement and how this reality influences us? Is it possible to recreate language which constructs and describes the world of technologies? Goal of this lecture is to show how artists create new forms and new identities — but not as protagonists of determined-by-history technological narrative but as its architectors.
Surrounding medium: Cultural Heritage Science & The Art of Light
Third seminar
Dr. Austin Nevin
Chemist and conservator, Researcher at the CNR-IFN (National Reseasch Council, Institute for photonics and nanotechnologies, Italy
Cultural Heritage Science: art and it's environment
Artists convey meaning through their careful use of materials to create a work of art - and works of art are intrinsically linked to their environment. This talk aims to highlight both the material nature of different works of art by exploring the way they are made, and to demonstrate the close link between the environment and the conservation of paintings on different types of surfaces, from walls to wooden panels. The conservation of works of art implies a thorough understanding of their constituent materials and their connection with the environment - which may include an assessment of relative humidity, temperature and light. It is now understood that fluctuations in relative humidity and temperature can pose significant risk to many paintings and materials used in works of art, and that light can induce irreversible changes to the stability and appearance of works of art. Many materials used by artists are sensitive to the environment: from hygroscopic wood to reactive pigments. This talk will seek to highlight the nature of works of art and their relationship with the surrounding medium - light, humidity and temperature.
Applications of various non-invasive techniques can be used to investigate the changes which occur in works of art with variations in relative humidity, or exposure to light. For example holographic interferometry of paintings on wood to explore the dynamic changes in wooden paintings following environmental changes and laser-based spectroscopy and imaging of paintings to assess the presence of different materials and degradation products which are sensitive to light, temperature and humidity. Applications of holographic interferometry will be shown to demonstrate the rapid movement of paintings in real time following even very small changes in environmental conditions. Highlights from applications of other methods based on photonics for the in situ analysis of cultural heritage will be shown and include recent research on moveable and immovable cultural heritage. Both spectral imaging of wall paintings and analysis of pigments will reveal how important is the complete understanding of works of art within their environment. Examples of research will include results from the study of Egyptian artefacts, the identification of organic red lakes in Leonardo da Vinci's Last Supper, and the study of pigments on paintings by Paolo Veronese, Vincent Van Gogh and Umberto Boccioni.

Vadim Fishkin
Artist, Russia/Slovenia; Prof. New Media Art, Karlsruhe University of Art and Design
Light Matters: Art of Light
Vadim Fishkin (born 1965 in Penza, USSR) lived in Moscow until 1996; he currently lives and works in Ljubljana. His work explores the relationships between science, personal experience, desire, and the imagination, between metaphysics and pragmatism, and between the artificial and the real. Fishkin's main area of investigation is science and its study methods as he uses technological advances for essentially poetic purposes and many of his installations, sculptures, photographs, and drawings are informed by his distinctive sense of humor. His work has been presented in numerous group and solo exhibitions, including at three Venice Biennials (in 1995, 2003, and 2005); the Manifesta 1, Rotterdam; the 3rd Istanbul Biennial; Galerie Nationale du Jeu de Paume, Paris; XL Gallery, Moscow; ZKM, Center for Art and Media, Karlsruhe etc.
Vadim Fishkin through the example of his works will be speaking about use of light in his art, about light as the art medium, its ephemerality and materiality at the same time.
Technologies in Art: Instrument and Media
Fourth seminar
Dr. Paraskevi Pouli
Physicist, Researche­r at Foundation for R­esearch and Technolog­y- Hellas, Institute ­of Electronic Structu­re and Laser (FORTH-I­ESL)
Enlightening the glor­y of Cultural Heritag­e: Laser analysis, di­agnosis and conservat­ion
In recent years complex diagnostic and restoration problems have been efficiently approached by means of laser techniques. In fact a number of laser material processing and spectroscopic methods has been specifically adapted with exceptional success to the requirements of a wide range of demanding conservation applications.
Surface cleaning, based on laser ablation, has been particularly effective for the controlled and selective removal of altered over-layers and unwanted accumulations in a variety of cases (i.e. stonework, easel paintings, icons, glass and metal objects). Among the outstanding examples is the laser-assisted removal of pollution accumulations from the sculptures of the Athens Acropolis.
Furthermore, spectroscopic techniques, such as Laser Induced Breakdown Spectroscopy (LIBS), micro-Raman and Terahertz (THz) spectroscopy, have been used to determine the chemical composition of materials in works of art and archaeological findings, while imaging techniques (i.e. multispectral and non-linear microscopies) have been able to differentiate similar materials and reveal hidden stratigraphic information.
Illustrative examples related to laser-cleaning will be given and the prospects and limitations of lasers in Cultural Heritage restoration will be discussed. Also the prospects of employing laser analytical techniques in art conservation and archaeometry will be presented in view of recent advances on compact, portable instrumentation.

Ken Rinaldo
Artist, Prof. of Art and Technology, Department of Art, Ohio StateUniversity, USA
The Challenges and Eruptions of Technological art
The role of technology in art is complex as art that uses science and technology, brings forth all the challenges of doing science as well as saying poetic things with material and processes that are physically and culturally complex. Some would argue science is employed as just a seductive material in art. Others believe art can play a significant role in how science and technology are received and understood by the public. In his talk internationally renowned bio/robotic artist Ken Rinaldo will discuss how tools and ideas can be poetic and confluent in an art / science practice as artists / scientists share core human elements of curiosity, play and connection-making. Art and science have become natural companions and simultaneously troubled bed partners and new unexpected births are emerging.
Biological Engineering and Bio Art
Fifth seminar
Dr. Maxim Artyomov
Professor, Saint Louis University, USA
Metabolism — from Hans Krebs to Edvard Munch
One of the most important goals of scientific studies is defined by our ability to understand complete picture based on fragmented information about individual features of the process. In that regard, metabolism is one of the most complex objects for scientific studies due to global interconnectedness of its individual parts. The word "metabolism" itself is defined as "continious transformations of substances that take place in living organisms in order to to sustain system's well-being". Artists, however, have adopted "metabolism" to reflect the state of continuous transformations of individual parts that comprise a global being, whether physical, biological or spiritual. Some of the brightest examples of incorporating metabolism into artistic vision are presented by Edvard's Munch painting "Metabolism" and architectural style developed originally in Japan, also named "metabolism". In his lecture, Maxim will use examples from his own research in order to highlight the similarities between scientific and artistic approaches and the ways scientists and artists use to analyze complex systems.
Oron Catts
Artist, SymbioticA, the Centre of Excellence in Biological Arts, within the School of Anatomy and Human Biology, The University of Western Australia
Growing the Made, Contesting Engineering Approaches to Life
Tissue engineering and regenerative biology are usually discussed in relation to biomedical research and applications. However in the last decade we witness a shift; there is a growing interest in exploring spin-off tissue engineering and regenerative biology technologies for other ends, such as consumer products, art and design. This talk will outline these developments in areas such as in vitro meat and leather, actuators and bio machine interfaces, speculative design and contemporary artistic practices.
The development of the concept of contestable design as a productive tool for scrutiny of the application of the biological technologies for non-medical consumer products and cultural artefacts is a novel way to access the feasibility and cultural impact of the life sciences. Avoiding utopian and dystopian postures and using the notion of the contestable, this talk will draw on my extensive experience of using tissue engineering for non-medical ends to speculate about what lead to these applications and their possible future development and highlight some philosophical and ethical consideration stemming from new technological approaches to life.
Interpretation Experience: Neuronetwork Mechanisms
Sixth seminar
Zoï Kapoula
Research Director in the field of cognitive neurosciences, CNRS (National Center of Scientific Research in France), Paris
Neurophysiology of aesthetics: epistemology and new paradigms
Artwork is a complex unique object done with techniques that are unique to the artist. Artwork is appreciated by the observer in the specific context in which is exhibited which is also unique. For these reasons artwork can have a unique impact on the observer. Research on artwork requires a holistic experimental approach, preferentially with studies in situ. Noteworthy, it is no possible to create a control stimulus to compare with the artwork and its context; also it is not possible to control the environment during experiments in museums. Yet, such open system holistic research methodology is not only essential for research in aesthetics but can be an inspiring model for science in general.
Zoi Kapoula will present studies from her laboratory: an eye movement study run first in museum Maillol (painting exhibition of F. Bacon, 2004), and repeated later on in the laboratory; a study of body oscillations and of subjective sense of visual vertical run at the museum Grand Palais, during the sculpture exhibition Promenade, Richard Serra, 2008.

Olga Kisseleva
Artist, Professor, Art&Science Laboratory, University Paris 1 Pantheon-Sorbonne
Sensitive worlds: bio-interface as an art & science research field
The emerging bio-interfaces designed nowadays in our laboratories are clerverly effective: scientists reproduce smart arrangements that the living matter has optimized over generations, or they structure the infinitely small to attain previously unimaginable properties. The artist does not sculpt the external form but the internal sub-structures of matter, not the object but its properties. Taking note of its passage through the world of ideas, biological interface arises both as a tangible and intangible presence. An art piece "which has a weight, which has a heart", in the words of Gaston Bachelard, whose touch – from the poetic caress to the containing tactility, from the embrace of love to the destructive crushing - can touch us deeply. A performer substance, since it is effective and active, which intense presence and ability to make reality foreign to us arouse very rich aesthetic feelings. Thanks to biological interface art becomes responsive, to embody interactive works of another kind with which we enter into relation directly through the body language. A matter to be thought of, since our thoughts are originally corporal. Thinking the limits of body, for example, at the beginning of our process towards artificial life.
Big Data Analysis and Digital Art
Seventh seminar
Dmitry Muromtsev
Head of Department of Informatics and Applied Mathematics, Head of International laboratory of Information Science and Semantic Technologies, ITMO University, Saint Petersburg, Russia
Art of Data: Data Analysis in Digital Art
Informational space, which we all inhabit, already got into all spheres of our lifes. It is impossible to imagine an artistic project without internet, social media and mobile technologies, and some of them exist only in virtual world. At the same time we are just entering the world in which data will completely encircle human and each action will be supported by its analysis conducted by machines.
Cumulated for centuries, mass data about society, economics and culture are far more reasonable and useful as might appear at first sight. But in order to put it to good account it is neccesary to create new methods of work with them, as new methods of mineral production were invented in XX century.
Digital Art is the field where freedom of thought and unlimited imagination can create unexpected methods of data analysis for shaping audiovisual images, sensible for human and interpretated by machines. In this lecture Dmitry Muromtsev will show how, in the interlacement of creative process and mathematical analysis, art objects made from real data emerge.

Julie Freeman
Artist, Associate at the Open Data Institute, PhD Candidate at Queen Mary University of London, England
Data as an Art Material
Data forms the backbone of nearly all our communications including machine to machine, human to machine, and, increasingly, human to human; it is unsurprising that one of the most prevalent materials of our time is used by artists to create work.
In this talk Julie Freeman will discuss a range of artworks from the Data as Culture programme at the Open Data Institute in London, UK. This will show the variety of ways that data can be used — from screen-based animation to soft robotics — and a taxonomy for describing data as an art material. She will also present her own art practice of working with data from living things, including fish and a colony of naked mole-rats.
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