Routledge Handbook of Art, Science, and Technology Studies

Hannah Star Rogers is a Visiting Scholar at the University of Edinburgh, where she researches the intersection of art and science.Megan K. Halpern is an Assistant Professor in Lyman Briggs College at Michigan State University and a Scholar in Residence at MSU’s Center for Interdisciplinarity.Kathryn de Ridder-Vignone is Faculty Senate Chair at the South Carolina Governor’s School for Science and Mathematics, where she teaches future engineers, from across the state, about the complexities of science, technology, and engineering in action.Dehlia Hannah is Mads Øvlisen Postdoctoral Fellow in Art and Natural Sciences at the Department of Chemistry and Biosciences at Aalborg University and a Research Fellow of the Royal Danish Academy of Art and ARKEN Museum of Modern Art in Copenhagen.

‘Many of us have developed a love-hate relationship with our constructed disciplines. Deep knowledge in almost all areas of human inquiry has advanced society and quality of life for many of us. Yet as we advance, limitations and barriers within these systems reveal themselves begging for a new framework to move us forward – the creation of a new system of thought that is inclusive, collaborative and integrative. The noble efforts of the editors and thought leaders represented in Routledge Handbook of Art, Science, and Technology Studies strives to give us a new language by which we can collectively imagine a future that draws from all areas of investigation.’J.D. Talasek, Director of Cultural Programs of the National Academy of Sciences (CPNAS), USA'This massive and lavishly illustrated handbook presents and summarizes current work in an emergent field that the editors dub Art, Science, and Technology Studies (ASTS). The very presence of this handbook underlines the extent to which science, technology, and the arts have become interrelated without entirely erasing the integrity of each. Artists in residence have become commonplace in many scientific projects but, as the essays in this Handbook demonstrate, this is just the tip of the iceberg: art is intimately performed in science, and in art with scientific materials and techniques. Artists do not simply represent scientific and technological objects; they embed technoscience into works of art, without effacing those works as art. The dozens of authors who contributed to the handbook span numerous disciplines ranging from the natural and human sciences to the arts – often in unique combinations. At the same time, the Handbook maintains coherence by creatively drawing upon established themes from science and technology studies such as ‘social worlds’, ‘boundary work’ and ‘boundary objects’. The contributors include both well-known veterans and younger scholars who have begun to make their mark in ASTS. I know of no other source that provides such extensive and comprehensive coverage of this burgeoning trans-disciplinary field.'Michael Lynch, Professor Emeritus, Department of Science & Technology Studies, Cornell University, USA'This far-ranging volume spans a stunning breadth of original creative work at the art, science, and technology nexus, building on the interwoven histories of Science and Technology Studies, Media Studies, and Transdisciplinary Studies. Unique to the handbook is the systematic organization of methodologies, artistic approaches, and conceptual concerns that drive this bold and dynamic field.'Patricia Olynyk, Multimedia Artist and Florence and Frank Bush Professor of Art, Washington University in St. Louis, USA'The book introduces Art, Science and Technology Studies as a new field of interdisciplinary inquiry and practice where both art and science contribute to knowledge-making. The dozens of essays included in the book examine the methods and methodologies used to bring art and science together, the structures that support these collaborations, the development and communication of projects realised as well as the engagement with the audience. While several authors in the publication delineate what we can learn from observing art and science in relation to one another, none of them pretends that art-science collaborations are frictionless. Or that they should be. In fact, many of the authors highlight issues such as the institutionalisation of both art and science, the possible instrumentalisation of art, the difficulties encountered while trying to create dialogues with the public around science and technology concerns. Most of them also suggest strategies that artists can adopt to protect their autonomy, find common ground with their science partners and new forms of critique emerge.'Régine Debatty, Review for We Make Money Not Art“The Handbook is an impressive collection of 42 chapters organized in 10 sections and covering topics such as borders, histories, methods, collaborations, infrastructures and activism, and includes an elaborate introduction and a final gallery. The chapters vary a lot in length, style, and content: Some describe or analyse specific examples and processes, whereas others are theoretical essays or works of art in their own right. The aim of the book is clearly to be inclusive and describe the new field of Art, Science and Technology Studies (ASTS) in all its variation…The editors have clearly put much effort into assembling this collection, and it provides many insightful and inspiring contributions from both within and outside STS.”Maja Horst, Dean of Arts, Aarhus University, Denmark

• Foreword by Trevor PinchForeword by Caroline A. JonesIntroduction: The past, present, and future of Art, Science, and Technology StudiesHannah Star Rogers and Megan K. HalpernSection 1: Constructing borders and borders at the intersections of art and scienceHannah Star Rogers1. What counts as data and for whom? The role of the modest witness in art-science collaborationSilvia Casini2. What can science and technology studies learn from art and design? Reflections on ‘Synthetic Aesthetics’Jane Calvert and Pablo Schyfter3. The skin of a living thought: art, science, and STS in PracticeHanna Rose Shell4. Aesthetic strategies for engaging with environmental governanceChristian Nold and Karolina SobeckaSection 2: Making multidisciplinary historiesHannah Star Rogers5. The art-science complexChris Salter6. Infrastructural inversions in sound art and STSOwen Marshall7. Emotion, affect and participation: why science communication practitioners should embrace a feminist ethics of care in their workBritt Wray8. Robert Hooke’s Micrographia: a historical guide to navigating contemporary imagesNina Sellars9. The Xenopus pregnancy test: a performative experimentEben K. Irksey, Dehlia Hannah, Charlie Lotterman, Lisa Jean MooreSection 3: Methods and modesMegan K. Halpern10. Doing research by means of artRegula Valérie Burri11. More than human trading zones in design research and pedagogy Laura Forlano and Carla Sedini12. Discovering alternative technological futures through literatureJennifer L. Lieberman13. Art’s Work in the Age of Biotechnology: how art can make arguments in science and technology studies Hannah Star Rogers14. Recipes for Technoutopia: on hospitality and infrastructure as experimental performanceStephanie Beth Steinhardt15. Reflexivity practiced daily: theatricality in the performative doing of STSYelena GluzmanSection 4: Collaborations and collisions in art-scienceMegan K. Halpern16. Trading between science and art worlds: from biology laboratory to art exhibitionNora S. Vaage17. Art, artists, and the wrong kind of science educationKathryn de Ridder-Vignone18. Negotiations and love songs: integration, fairness, and balance in an art-science collaborationMegan K. Halpern19. Transdisciplinary co-inquiry as curatorial methodology: from the Canadian Arctic to the Calder Valley, YorkshireNicola Triscott and Anna SantomauroSection 5: Institutions and infrastructuresKathryn de Ridder-Vignone20. ArtSciLab: experimental publishing and knowledge production in collaborative transdisciplinary practicesAlex Garcia Topete, Chaz Lilly, Cassini Nazir and Roger F. Malina21. Polymathic pedagogies: creating the conditions for interdisciplinary enquiry in art and scienceHeather Barnett, Nathan Cohen and Adrian Holme22. The future of arts integrative work: creating new avenues for advancing and expanding the fieldEdgar Cardenas, Sandra Rodegher, and Kevin Hamilton23. Feasting the Lab and other projects: art and science that skirts the limits of institutional frameworks Jennifer WilletSection 6: Democracy and activismHannah Star Rogers24. We're all living in an EstroworldMary Maggic25. Rustbelt Theater and citizen science: children’s environmental justice narrativesLissette Lorenz26. Artificial intelligence experience: participatory art workshops to explore AI imaginaries Christopher Wood27. Human germline gene editing is bioart: an open letter to Lulu and NanaAdam ZaretskySection 7: Art as partner and criticHannah Star Rogers28. The power of generative critique in art-energy projectsLea Schick 29. Hemlock Hospice: landscape ecology, art, and design as science communicationAaron M. Ellison and David Buckley Borden30. Horizons of engagement: infrastructures of art and scholarshipAlexandra Lakind, Nicole Bennett and Robert Lundberg31. Big pigs, small wings: on genohype and artistic autonomyIonat Zurr and Oron Catts Section 8: Exposure to the elementsDehlia Hannah32. In the Middle of Something: in Search of Meso-Aesthetics Andrew S. Yang33. Curating in-between systems: Politics, ecology, and artStefanie Hessler34. The future now: three tales of ocean plastic Heather Davis35. Becoming disaster literate: reflections on X AND BEYOND (2015-2017)Jacob Lillemose36. An Anthropocene journey: walking as embodied researchNick Shepherd and Christian Ernsten37. As we used to float: within Bikini AtollNadim Samman and Julian CharrièreSection 9: AtmosphericsDehlia Hannah38. Archiving AtmosphereJames Graham39. Becoming tornadic: a meteorology of mediaBrett Zehner40. Environ/mental ecologies in new media art Anne Sophie Witzke and Jonas Fritsch41. Changing imaginaries and new technoecologies of urban airHanna Husberg and Agáta Marzecová42. Variations on AirAnne Sophie Witzke and Dehlia HannahSection 10: The GalleryHannah RogersDesigner: Molly Renda