Unseen: The Lives of Looking’ is Dryden Goodwin’s first feature-length essay film. The film focuses on four individuals, each with a distinct relationship to looking – an eye surgeon, a planetary explorer, a human rights lawyer and an artist/filmmaker. Told through Goodwin’s closely observed drawings, camera work and multilayered soundtrack, the film explores different scales, forms and reasons for looking, in a poetic and metaphysically charged journey.
NanoArt is a new art discipline at the art-science-technology intersections. It features nanolandscapes (molecular and atomic landscapes which are natural structures of matter at molecular and atomic scales) and nanosculptures (structures created by scientists and artists by manipulating matter at molecular and atomic scales using chemical and physical processes). The work of Cris Orfescu, an artist and scientist, is a reflection of this technological movement.
Utilizing a dialectical approach in both his studio practice and research, the work of artist Jared Vaughan Davis often deals with topics ranging from epistemology, mythology, ancient and modern cosmology, and the science of ‘belief,’ to general art and science communication and promotion.
In 2010, bio-artist Sarah Craske stumbled upon a very early English translation of Ovid’s Metamorphoses in an East Kent junk shop. It dated from 1735, and in its nearly 300 years of existence it had passed from reader to reader, picking up layers of biological history (bacteria, viruses, skin cells). Uncovering the invisible from its pages, Metamorphoses in Art & Science develops shared ways of working in new & emerging fields, through the collaborative inter-relationships between the sciences, arts & humanities.
For nearly 10 years, Simon Park, an internationally recognised molecular microbiologist, has worked at the fertile intersection between art and science. As well as collaborating with artists, he also produces his own work, his practice being inspired by the aesthetics and processes of the usually invisible microbiological world. He recently won the Peter Wildy Prize for his outstanding outreach work in microbiology.
Scott Draves is a pioneering software artist best known for creating the Electric Sheep, a collective intelligence consisting of 450,000 computers and people that uses mathematics and genetic algorithms to create an infinite abstract animation.
Joseph Nechvatal is a post-conceptual digital artist and art theoretician who creates computer-assisted paintings and computer animations, often using custom-created computer viruses.
Mike Phillips is Professor of Interdisciplinary Arts at Plymouth University ( School of Arts & Media, Faculty of Arts), the Director of Research at i-DAT.org and a Principal Supervisor for the Planetary Collegium. His R&D orbits a portfolio of projects that explore the ubiquity of data ‘harvested’ from an instrumentalised world and its potential as a material for revealing things that lie outside our normal frames of reference – things so far away, so close, so massive, so small and so ad infinitum.
Miena Mizusaki’s artistic practice focuses on the aesthetic of visible light and through her works she seeks ways to express the temporality and ephemeral nature of light and its colour.
‘Unseen. Seen’ videos blog featuring Gary Greenberg: The beautiful nano details of our world ; Drew Berry: Animations of unseeable biology ; Sukanya Chakrabarti: Discovering the unseeable: The search for dark matter ; and Louie Schwartzberg: Hidden miracles of the natural world