As an artist, planner/designer and eco-cultural activist, Richard Lowenberg has dedicated his creative life to investigations, understandings and artful realization of works presenting and collaboratively setting examples for ‘an ecology of the information environment’, and resulting opportunities for development of a culturally and ecologically rooted society.
Joseph Nechvatal’s contemporary art practice engages in the fragile wedding of image production and image resistance. Through his version of an art-of-noise, he brings a subversive reading to the human body through computational viruses, articulating concerns regarding safety, identity and objectivity. He is interviewed by New York–based artist, Chris Dorland.
During April 2026, Gayle Chong Kwan interrogated the history of the scientific canon with a major installation in the Grand Gallery of the National Museum of Scotland for Edinburgh Science Festival. Through a large-scale site-specific sculptural installation, the work reflects on the cultural legacy of science, exploring and rethinking scientific histories through Chong Kwan’s detailed research into scientific artefacts and archives across eight major collections and speaking with communities.
Joël Chevrier has been Physics Professor at Université Grenoble Alpes (UGA) since 1998. In this article he examines Antony Gormley’s sculptures, which prompt questions: How far does the human body extend? Where are its limits? Are there even limits?
Michael Nicoll Yahgulanaas’ art has many incarnations including Haida manga, sculpture, painting, mixed media, ceramics or long murals made on Japanese paper. In this interview with art and ecology author, John K. Grande, he discusses his ideas and work.
Primarily a visual artist, Paul Forte also writes essays and poetry. Forte’s career as an artist began in the San Francisco Bay Area in the early 1970’s. Influenced early on by Conceptual art, Forte has employed a variety of media over the years to realize ideas, including making and self-publishing artist’s books and related objects.
“An experimental approach to art making coupled with an abiding sense of the poetic are the hallmarks of my art. It is an art that has explored this approach and sensibility through a variety of media and artforms over the years: Word works and poetry, artist’s books and book works, performance art, drawings, collage, montage, and assemblage. Central to much of this work is the use of found or appropriated material.”
Rutherford Chang’s first institutional solo presentation ‘Hundreds and Thousands’ is at UCCA Center for Contemporary Art in Beijing. Rutherford Chang (1979-2025) was a New York-based conceptual artist whose practice revolved around collection, repetition, cultural memory, and value. His work often recontextualized everyday media, transforming their significance to reveal underlying cultural narratives. This marks the first posthumous exhibition for the artist and first solo museum exhibition as well as the worldwide debut of several works.
Sabahat Fida is a lecturer in Zoology with the Higher Education Department in Kashmir. With academic training spanning in both the sciences (MSc Zoology) and the humanities (MA Philosophy), her work seeks to bridge the realms of science, metaphysics, religion, and philosophy. ‘From curvature to creation: what pi really measures’ explores the philosophical implications of the mathematical constant π. The piece traces π from its definition to its quiet governance of physical laws and biological form, arguing that its ubiquity points to a mathematically ordered cosmos.
Mesmerizing, light-infused artworks take over the Bruce Museum’s Sculpture Gallery in “Gisela Colón: Radiant Earth”. Showcasing nine luminescent sculptures, the exhibition offers a powerful introduction to the work of internationally acclaimed sculptor Gisela Colón, whose radiant forms explore the profound forces and energies of the natural world.
Contemporary approaches to emotion and embodiment often diverge along bottom-up (somatic) and top-down (cognitive) lines, giving rise to disagreements about the origins of feeling, the role of meaning, and regulation mechanisms. This paper introduces a visual–operational framework that distinguishes body-led and mind-led domains as coupled operating systems governed by different rules for safety, security, attention, and boundary behavior. Misalignment is modeled as forced single-domain operation, while coherence is defined as restored domain coordination enabling voluntary switching and bidirectional exchange. Through diagrams and visual translation artifacts, the framework functions as an orientation interface that renders existing approaches complementary and interoperable.