Giuliana Mazzoni is Professor of Psychology, University of Hull. Human memory represents her main research interest, and more specifically the study on how personal memories are remembered in normal people and in those whose ability to remember is exceptional. Her work on memory has been featured in newspapers and magazines in the UK (among many, The Sunday Times) and around the world (among many,The Washington Post).
Inspired by an aesthetic in which art, science, medicine and ecology intersect, Elaine Whittaker’s art practice considers biology as contemporary art practice. Based principally in installation, sculpture, painting, drawing and digital imagery, her artworks incorporate a range of materials: from the traditional, such as paint, pigment and wax, to the unconventional, such as mosquitoes, salt crystals, cells and live microorganisms. They have been exhibited nationally and internationally, in art and science galleries, and featured in literary, medical and art magazines, including William Myers’ book, Bio Art: Altered Realities (2015). In this article she reflects on Contained, her 2018 exhibition, and the effects of illness on identity as experienced by her mother when she contracted Tuberculosis at an early age.
Dr Caitlin Curtis is a research fellow at The University of Queensland. She has broad expertise in genetics including conservation genetics, ancient DNA, DNA forensics, and vector genomics. Caitlin is fascinated by the intersection between genomics and technology and the ensuing privacy and data protection issues.
M M Owen is a British nonfiction author. He obtained his PhD at the University of British Columbia, and runs an animation studio called Misfit Productions.
Artist and writer, Richard Bright, has addressed the relationship between art, science and consciousness for over 30 years. In his recent series of drawings he explores the impermanent and shifting process of time and waves.
Bethann Garramon Merkle, MFA, is a multi-disciplinary science communicator and artist who specializes in sharing science through depictions of the natural world. In particular, her work explores the role stories play in shaping public perspectives of science and ecology topics. She is currently on staff with the Wyoming Migration Initiative, a research and outreach group within the Department of Zoology and Physiology, at the University of Wyoming. There, she directs the University of Wyoming Science Communication Initiative, conducts research on art-science integration and science communication, and helps researchers with outreach initiatives, offers trainings on sharing science, and creates images, text, social media content, and other outreach materials that convey research results.
Sarah Sutton is an associate professor of Art at Ithaca College, who is interested in vision science, spatial structures and speculative futures. Although her work is grounded in her painting practice, her collaboration with scientists and philosophers with overlapping interests provides creativity and vitality to her painting and teaching.
Jasmine Pradissitto is a physicist and a painter who sculpts and creates installations in plastics, light, metal, and geopolymers, embracing the dual worlds of the Scientist and Artist.
Described as ‘holograms you can touch’, her sculptures in new and discarded plastics, change in colour as the observer moves. Inspired by nature, the human condition, and scientific breakthroughs, forms are melted and reshaped from plastics using an innovative process she has developed, as a commentary on an unsustainable, increasingly Anthropocene world slowly being reshaped by the things we consume and then disregard.
Garth Paine is a composer, scholar and acoustic ecologist. He is an associate professor in interactive sound and digital media in the School of Arts, Media and Engineering and associate professor of composition in the School of Music at Arizona State University. He crosses art-science boundaries with his community embedded work on environmental listening and creative place-making in addition to his environmental musical works and performances. In 2018 he was researcher/artist in residence in Europe at IRCAM (Centre Pompideau) and Center for Arts and Media (ZKM).
Nicolas Strappini’s work investigates how physical science apparatus and experimental equipment can be used alongside printmaking and many other mark-making processes to form novel artworks. The formations that he creates appear to be self-authoring and generative, and use techniques that are to some degree dependent on natural, random processes.